Live on the Square music event of bands and solo artists
Live on the Square, organised by volunteers Cllr Pete Dando and Jim Evans with the help of Mold Town Council, will be held on the town's Daniel Owen Square on Sunday, May 4, from 12.30pm to 9.30pm, with a host of local bands and performers taking to the stage.
Cllr Dando said: "We are all looking forward to this year's Live on the Square and have six amazing bands and solo singers throughout the day.
"Our lineup this year sees the return of Live on the Square crowd favourites Fletch - the ultimate party band bringing high-energy and feel-good vibes to every event, plus newcomers to the event including, Kasp, who will be playing a variety of classic anthems.
Music and good times at a previous Live in the Square, Mold. Pictire: Phil Tugwell Photography
"The C90's is a band who try to choose interesting songs to whilst picking songs that people remember, but not the songs you'd initially think!
"Also joining the line-up are The TTB, a five-piece originally formed in the 1980s when they were at high school in Mold. Twenty on Black are a high-energy rock duo from North Wales, featuring Tron Marshall on drums and Gav Rasmussen on guitar and vocals, and completing the band line up are PTM Music are a Chester/North Wales-based rock and metal covers band, covering everything from The Beatles to Metallica, with three guitarists they don't shy away from those big Iron Maiden harmonies or layered Foo Fighters riffs and melodies."
Read more: Best Of... nominate your favourite butcher, farm shop or deli
Cllr Dando added: "In addition to the bands there will be solo performances from 14-year-old Brody Xander who has been playing guitar from an early age and, after taking up singing, won the Mold Carnival Time2Shine talent competition last year.
"Next up is David Murray, lead singer of My Eleventh Toe. David will be doing a stripped back and intimate setting of acoustic songs. Final performer is 17-year-old solo artist Joe Butler, a trained classical pianist who taught himself to play guitar when he turned 13, and now he teaches over 250 children for Europe's biggest music school!"
Read more: Wide variety of influences for Deeside band members
The event is ticket entry only, no admission without a ticket. Tickets are £10 (no concessions) and there are no sales to under 18 years. Tickets can be purchased from a number of ticket outlets in Mold: Bargain Booze, Mold Alehouse, KMA Tool Hire, Cravin' and Mold Town Council office which is in the Daniel Owen Precinct (next to Hughes Pharmacy) cash only sales or you can reserve your tickets and pay via bank transfer by contacting Jane Evans, Mold Town Council events and community engagement officer, via email - events@moldtowncouncil.org.uk or call 01352 758532 opt.3
Music and good times at a previous Live in the Square, Mold. Pictire: Phil Tugwell Photography
Jane said: "Live on the square is one of the most talked about events in the town and there's always a fantastic atmosphere. This will be our seventh year and this year looks no different, so make sure you get your tickets if you want to join us on the square as each year we have had to turn people away as they did not have a ticket, so we cannot stress enough that without a ticket you are not guaranteed entry."
Food and drink will be available to purchase at the event but due to licensing restrictions, no alcohol can be taken into the event. Full terms and conditions can be found on Live on the Square Facebook or you can request a copy by emailing events@moldtowncouncil.org.uk
• For more information check out the Live on the Square Facebook page or contact Mold Town Council via email events@moldtowncouncil.org.uk or call 01352 758532 opt.3
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Glasgow Times
an hour ago
- Glasgow Times
What we know so far about Glasgow's newest culture hub
Clydeside Containers, a food, drink, and culture venue, is set to launch at 61 Broomielaw this summer. The venue aims to become a new Glasgow city centre landmark and anticipates to attract high footfall due to its location next to the Riverboat Casino on the Broomielaw. 3D-renders of Clydeside Containers (Image: Supplied) Read more: Glasgow to host romantic candlelight concert based on hit Netflix show Constructed entirely from modified shipping containers, the venue will include an open-plan bar, six independent food vendors, a breakfast kitchen, and flexible space for public events, performances, and activations. The venue's retractable roof will shelter some of Glasgow's best street food, alongside a curated drinks menu featuring major spirits brands, beer, and affordable classics. Food vendors set to feature at the venue include the Crumbleologist, Pizza Cult, Café XO, Rabbit Food, Greek Street Yeeros, and Sub 126. Meanwhile, the final unit within the hub is set to become a rotating guest pitch, showcasing independent traders and pop-ups. Any operator looking for a chance to highlight their concepts at the venue are encouraged to apply online here: Clydeside Containers is also designed to become a cultural hub with community programming, live podcasts, acoustic sessions, and up to 12 larger live music events planned for every year. The venue has partnered with organisations such as the RNLI to become a Water Safety Ambassador, with more partnerships to be announced. 3D-renders of Clydeside Containers (Image: Supplied) Read more: New park could become 'destination' attraction for Glasgow families The team behind Clydeside Containers is made up of Glasgow-based hospitality operators and cultural creatives with experience in delivering successful venues and community-driven projects. It is led by the team behind venues like Max's Bar, La Cheetah Club, Mikaku, and Room 2. The venue will be open seven days a week, starting with breakfast from 7am on weekdays, with core hours running until 10pm. An official opening date is due to be announced soon, with a full launch expected in late summer.
The National
3 hours ago
- The National
Why your friendly neighbourhood Spider-Man gives you the ‘ick' factor
That shimmering street grid, and those sandstone bases of unbuilt skyscrapers, will host the most everyday superhero of the current Marvel Universe. Everyday, in every way. It's not just Peter Parker's tentative romance with Mary Jane Watson (and her variants), or his wracked grief on the deaths of his adoptive parents, or his humdrum job as a freelance photographer. But it's also his powers; they too partake of the everyday. In his earliest incarnation, Parker is bitten by a radioactive spider, escaped from an experiment. Spider-Man first appears in the nuclear-haunted, cold-warring mid-60s, where the lingering effects of radiation on babies and animals were well known. Not to mention the beginning of plausible genetic engineering. Watching the precursor to the forthcoming Glasgow-based movie, 2021's Spider-Man: No Way Home, it's notable that all the villains assembled – Doctor Octopus, Green Goblin, Sandman, Lizard, Electro – have gained their malevolent powers through exposure to radiation, or biological/cyborg experiment. Just like Spider-Man. READ MORE: 'Ludicrous': BBC bias claims reignite as majority of panellists back Labour Doth this 'good' mutant protest too much against the 'bad' ones? The citizens are consigned to the role of spectators (or squished collateral damage) as these super-humans fight for supremacy. No amount of Peter Parker homeliness – he is your 'friendly neighbourhood Spider-Man', after all, happiest when arresting street thugs – can hide his posthuman weirdery. No Way Home might be the eighth-biggest-grossing movie of all time, but it's lame in the way it resolves this tension – where body modification turns towards good or ill. Parker and friends test-tube up some remedies for the villains, transforming them back into their humdrum, benign human selves. But then Doctor Strange – played by a somnolent Benedict Cumberbatch – has to then 'magic' them back into the parallel universes they've come from. The current Spidey-verse – with a guileless Tom Holland in the title role – is, at this late stage in the Marvel franchise, a bewildering mix of superpowers. Under the techno-influence of Tony Stark, the old struggles with the Spidey costume – stitching it together, hauling it on, repairing rips – are now an automated swoosh from suit to suit. There's also a very funny sequence where previous Spider-Men from parallel universes (Tobey Maguire and Andrew Garfield) explore their web-making powers. Garfield and Holland have to keep refilling their cartridges, while Maguire produces it subcutaneously from his wrist (which was creator Stan Lee's original mutation). 'Does it come out anywhere else?' asks Holland guilelessly. This is a nod to the obvious metaphor: the yearning young adult Parker suddenly suffers a condition where white sticky fluid unpredictably erupts everywhere … The actors are given enough room to riff on it. So we're laughing, these days. But I don't think any amount of irony and eyebrow-raised referencing can reduce the essential strangeness of Spider-Man – and for that matter, X-Men, Iron Man, the Fantastic Four, Captain America, Black Widow, Ant-Man, I could go on. All of them are the victims of science and technology either gone wrong, or consciously applied to the body, resulting in imposed or desired superpowers. As the box office shows, the appetite is there for stories, however fantastic, of human biomodification. You could render them as giant compensation fantasies. We're coping with our everyday sense of bodily vulnerability to the outcomes of sci-tech, through entertainments that show us gaining power from it – not being polluted and made more fragile and dependent by it. Yet it strikes me that we are much more resistant to the transformations of bioscience than we are to the transformations of AI and automation. We consume all manner of creative narratives, both desirable and cautionary, about computers becoming conscious or purposeful – and it all seems more like a lubricant to the spread of AI in our lives than an inhibitor. When it comes to us and our bags of skin, however, we're just not as embracing of the radical bio-changes that the superheroes undergo, willingly or unwillingly. The safest vector is through disability or health. The pills and therapies that suppress appetite, attack viruses, enable pregnancies, and (who knows) slow down cell decay to prolong life. Even that avatar of techno-weirdness, Elon Musk, who wants to neurologically link brains and computers, does so first in service of the paralysed, giving them some much-needed agency and purchase in the material world. Yet we appear to have an unarticulated, deeply-set norm that kicks back against too much of this. The 'ick' factor is certainly present. Take the Enhanced Games that took place in Singapore the other week. Sportspersons competed in athletics which ignored the fuzzy line between legal performance-enhancing substances and illegal ones. But the games languished under waves of aversive, sometimes even revulsed press coverage. So we revel in the superheroic cavortings of cyborgs and mutants on our screens, while objecting to already finely-calibrated athletic bodies taking a few seconds off a track record, by expanding the pharmacopoeia of their drugs. I'm not complaining! Indeed, I'm desperately grateful that there seems to be some kind of natural, intuitive limit to the kinds of transformations we moderns of the 2020s are willing to undergo. Even the blockbuster entertainments are telling us something obvious, as the Earth is (yet again) threatened with total annihilation in their narratives. Which is that it ultimately, terminally matters how we humans consciously deploy our transforming powers in the world. I will admit to enjoying these bionic characters as modern mythological gods, cartoonishly laying out important dilemmas for us. However, I sometimes crave sci-fi tales in a much subtler register. Kazuo Ishiguro's Never Let Me Go is interesting to set alongside these bombastic tales. In its way, it's hardly less monstrous. The whole society in this novel is stable, settled, orderly and utterly cruel: the institutionalised children in it are clones, being grown to adulthood so that they their organs can be harvested for clients. The supportive relationships that comprise much of the novel are to support the weakening young adults, as they are weakened by the surgeries they undergo. This is body modification, but all about submission to the process, accommodating its demands. It's far from radiation, gene therapy or prosthetics enabling you to leap tall buildings with a single bound. Bio-heroes in the blockbusters conduct their sparring in the public sphere, as if they're conducting an oblique argument about the society they're in. For No Way Home, they literally battle across the surface of a scaffolded Statue of Liberty. They're also constantly pursued by an Alex-Jones-like vlogger, casting Spidey as a public enemy. In Never Let Me Go, the bio-subjects are held in a pastoral enclosure, erased from the world that depends on their sacrifice. The crowds gawp at the superheroes: faced with Ishiguro's bureaucratic horror, the crowds avert their eyes. The superheroes at least ask: What happens when your body has power and potential, when what you can do with it amplifies your agency? Ishiguro asks: what happens when the body simply becomes somebody's property? The Spider-Man producer Amy Pascal says the new film will be about 'Peter Parker going to focus on being Spider-Man, because being Peter Parker was too hard'. Cute: his pursuit of Zendaya, as his girlfriend with a now wiped memory of him, will no doubt humanise the story. But Spider-Man – and we haven't even touched on arachnophobia (or is that arachnophilia?) – is properly odd, if you scrutinise him closely enough, and line him up with all his bionic pals. There are important tensions about humanity, technology and the future, hidden behind that bug-eyed mask.
Daily Mirror
3 hours ago
- Daily Mirror
TV teen who needed French polisher in Yellow Pages ad unrecognisable 34 years on
One of the best-remembered ads for the Yellow Pages phone directory featured a floppy-haired teenager waking up to the aftermath of party he'd thrown while his parents were away Before the rise of the internet, we had the Yellow Pages, a comprehensive directory of local businesses – from advice centres to zoos – all vying for your custom, packaged in a hefty, distinctively coloured phone book. In the 1990s, the Reading-based company became famous for its unforgettable TV adverts, each new release bringing a buzz of anticipation akin to the unveiling of a new John Lewis Christmas advert today. These TV commercials even turned their stars into temporary celebrities, long before the era of reality TV, and gave birth to several catchphrases. Anyone around at the time will easily remember the Yellow Pages ad featuring elderly man searching for a book titled Fly Fishing by J R Hartley, with the surprising twist that it was Mr Hartley himself seeking his old publication. There was also the cheeky young lad standing on a stack of Yellow Pages to sneak a kiss under the Christmas mistletoe. And in 2003, Cold Feet actor James Nesbitt was enlisted to rejuvenate the brand, with the actor channelling his character Adam's hapless persona from the show, using the Yellow Pages to navigate tricky situations. But one of the most memorable adverts, first aired in 1991, featured a shaggy-haired teenager waking up on his living room floor after hosting a house party while his parents were away. Venturing into a bedroom, he stumbles upon a stranger on the bed, exclaiming: "Wake up! My parents fly back today," as a small group hastily tidies up the house. Then after his abject horror at noticing a scratch on a wooden table, he turns to the reliable Yellow Pages to find a solution. "Hello, French polishers?" he enquires over the phone, adding: "It's just possible you could save my life." The scratch is skilfully polished away in the nick of time and everything seems fine, until the final moment when the unfortunate lad realises that someone has doodled a beard and glasses onto a woman on one of the family's treasured paintings. The teenager in the advert was portrayed by Nottingham actor Simon Schatzberger, who later played Adrian Mole in a stage production in London's West End, and has since appeared as a Woody Allen-esque character in a stand-up comedy show. Now aged 57, he's also had a stint as David Klarfeld on the BBC soap Doctors and made appearances in EastEnders as a Rabbi, both in December 2018 and again in January 2019. His other television roles include Band Of Brothers, Daniel Deronda and Father Brown. In 2019, Yellow Pages announced it would cease printing its iconic directories, after more than half a century. The final editions of the once-indispensable guide were delivered in Brighton, the city where the directory's original copies were distributed. It boasted 104 editions, each customised to specific areas of the UK, with nearly 23 million copies circulated each year. And in 2023, a perfume was launched that even smelled like Yellow Pages, proving the brand lives on... sort of.
