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‘It's been incredible': Little Simz ends Meltdown festival with orchestral show

‘It's been incredible': Little Simz ends Meltdown festival with orchestral show

Rhyl Journal8 hours ago

The 31-year-old, whose real name is Simbiatu Ajikawo, brought out guests including rapper Wretch 32, Nigerian artist Obongjayar, and singer Miraa May, during a show which saw her backed by Europe's first majority black and ethnically diverse orchestra at the Royal Festival Hall.
After opening with Introvert from Mercury Prize-winning album Sometimes I Might Be Introvert (2021), the London-born rapper told the crowd: 'Thank you guys so much for coming to see me this evening.
A post shared by simz (@littlesimz)
'This is the last day of Meltdown festival, it's been incredible, please make some noise for the Chineke! Orchestra, please make some noise for my band on stage tonight, I want to have a good time with you guys, here we go.'
She then kicked into Thief from latest album Lotus, which was released earlier this month.
The artist said she was 'very excited' to be playing her new record live, but told the audience she was also going to 'take it back', before performing Two Worlds Apart.
Before I Love You, I Hate You, Simz asked the crowd: 'Why you lot sitting down?' prompting them to spring into the air, dancing and singing along, where they remained for the rest of the concert.
For Heart On Fire from No Thank You (2022) the rapper hopped off the stage and prowled into the crowd, waving to and holding hands with fans, while Venom, one of her best known tracks, saw Simz jump on to the conductor's podium to conduct the orchestra for the song's opening while rapping.
Before Free, from her latest record, Simz told the audience: 'This next song, I wrote as a poem, and I'm so happy I made it into a song, because, it's even stuff I need to hear sometimes, you know?
'If you know it, if you like it, I would love if we can sing it together, I think it'll sound beautiful in here.'
For Peace, the rapper brought out singer May, who she said she had known 'for a very long time, since we was like 14, 15', adding that they used to sit in a park in Shoreditch and write songs together, saying it was 'so special' to perform with her on the night.
Obongjayar, who released his second album Paradise Now in May, brought upbeat party vibes for Lotus's Lion and Sometimes I Might Be Introvert's Point And Kill.
London-born rapper Wretch 32 appeared on the balcony as Simz began the duet Blood from her latest album, making his way down to the stage, where they were joined by singer Cashh for the family argument-turned song.
Before last two songs, Woman and Gorilla, she said: 'This has been so special, man, thank you guys for being here, thank you so much to Chineke! Orchestra, most importantly you guys, man, you guys, honestly.
'It's been so much fun, you've been dancing, you've been singing and really catching our vibe.
'I'm so very grateful.'
This year's Meltdown, curated by Simz, has seen performances from the likes of Lola Young, The Streets and Ghetts since the 11-day festival began on June 12.
Each year the event is curated by a different artist, with last year's event being planned by Chaka Khan, while other past curators include David Bowie, Grace Jones and Patti Smith.
Meltdown has become known for unique performances, with The Smiths' lead singer Morrissey getting a reunited New York Dolls to perform at his 2004 event, Ray Davies restaging 1960s TV pop show Ready Steady Go! in 2011, and Jeff Buckley playing his final UK show at Elvis Costello's Meltdown in 1995.

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Maya Jama sizzles in a racy black mini dress as she hosts the latest episode of Love Island: Aftersun
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  • Daily Mail​

Maya Jama sizzles in a racy black mini dress as she hosts the latest episode of Love Island: Aftersun

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EastEnders' Samantha Womack's heartbreaking change after breast cancer battle
EastEnders' Samantha Womack's heartbreaking change after breast cancer battle

Daily Mirror

timean hour ago

  • Daily Mirror

EastEnders' Samantha Womack's heartbreaking change after breast cancer battle

Former EastEnders actress Samantha Womack is living her best life in Spain with her Emmerdale partner, and exclusively reveals her incredible transformation after cancer Chatting from her home in Spain's Valencia mountains, with only her rescue dogs for company, former EastEnders actress Samantha Womack couldn't sound happier. The 52-year-old underwent gruelling treatment for breast cancer after being diagnosed in August 2022, but says she now believes the experience has changed her outlook on life for the better. 'I feel so much more enlightened,' says the Brighton-born star. 'I know myself better, I feel humbler, I feel calmer.' The biggest day-to-day change to Samantha's life is that she works far less – although for an actress who's worked pretty much non-stop since rising to fame representing the UK at Eurovision in 1991 and then launching her acting career in the mid-1990s in Pie In The Sky and Game On, saying no doesn't come easily. ‌ ‌ 'After my year-and-a-half of treatment, I started turning down a lot of stuff – and I didn't have the bank balance to match that confidence, trust me,' admits the actress, who announced she was cancer-free in December 2022. 'It was me saying the word 'no' and my bank account creaking. But there was empowerment in that because I thought, 'OK, I need to go through this, spend time with myself and figure out stuff that I've never figured out – maybe stuff I've buried under a rug.'' Another of Samantha's post-cancer convictions is the need for women's health – particularly breast health – to be more of a priority. 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Is this the greatest memoirist of the 20th century?
Is this the greatest memoirist of the 20th century?

Telegraph

timean hour ago

  • Telegraph

Is this the greatest memoirist of the 20th century?

When the artist Joe Brainard was in the midst of composing his fragmented memoir I Remember, in 1969, he wrote to a friend: 'I feel very much like God writing the Bible. I mean, I feel that I am not really writing it but that it is because of me that it is being written. I also feel that it is about everybody else as much as it is about me.' The grand claim was a good indicator of the book that was to come: ambitious yet playful, even childlike; self-disavowing as well as self-involved; perhaps, most of all, unabashedly honest. I Remember became Brainard's most celebrated written work. It is being reissued here in the UK by Daunt Books with a new introduction by Olivia Laing; in the US it has long been a cult favourite emblematising the 1960s New York School, of which Brainard was a key figure alongside poets Frank O'Hara and John Ashbery. The book comprises a non-sequential list of distinct memories, each beginning with the words 'I remember'. These memories encompass things, people, moments in time, urban myths, products, celebrities and dreams. They range from the very brief – 'I remember pony tails', 'I remember liver' – to short paragraphs elaborating on anecdotes – 'I remember a story my mother telling of an old lady who had a china cabinet…' – or fantasies – 'I remember daydreams of a doctor who (on the sly) was experimenting with a drug that would turn you into a real stud.' At first their effect is disorienting immersion, but the fragments gradually become like coordinates. A mid-century American childhood in Tulsa, Oklahoma, comes into view, which modulates into adolescence and, occasionally, adulthood. As the memories hop between eras in Brainard's life, their grammar also sloshes between the past and the present, often with an evocative childishness, recording the way things can feel given or eternal: 'I remember chicken noodle soup when you are sick.' His list loops back to topics and repeats certain melodic phrasings. Its construction suggests both intuition and fine composition, and reminds you that Brainard was principally a painter and collage artist. I Remember sees the world in pieces, and these pieces themselves show a prevailing attraction to bits and details: 'little balls of ink', 'a blue glass mirror storefront in Tulsa with one piece missing.' Such fragments also propel the book's many sexual fantasies – 'I remember navels. Torso muscles. Hands. Arms with large veins.'; 'small areas of flesh', 'An orgy of fabric and flesh and friction (close-ups of details).' But Brainard's attraction to the glimpses and pieces that make up his book is not solely or simply erotic; not just a fetishisation of his own life. What carries the text is his sensitivity to the way that so much can be contained in the tiny and particular, and contrarily how whole worlds can be reduced to mnemonics. Memories are sometimes simply songs, sayings, or products, placed in Perspex-like quote marks: 'I remember 'The Tennessee Waltz.'', 'I remember 'Suave' hair cream.', 'I remember 'Queer as a three dollar bill.'' Brainard uses these quote marks artfully to suggest how a word or a thing is also a phenomenon: 'I remember a big Sunday lunch, a light Sunday night dinner, and in the morning – 'school.'' Among the songs and things and events – 'cinnamon toothpicks', 'shaking big hands' – runs a thread of negatives: memories of absences or lacks. 'I remember gift shops we didn't stop at,' Brainard writes. 'I remember not looking at crippled people.' 'I remember not allowing myself to start on the candy until the feature started.' And then there are Brainard's many frustrations, his unsuccessful efforts to imagine or understand things: 'I remember trying to realise how big the world is.' 'I remember trying to visualise my mother and father actually f------.' These kinds of absences, deprivations, and efforts shape us, informing our desires, imaginations, and senses of self. Brainard's form has the revelatory effect of showing how these absences can harden into potently present facts, sitting in our memory alongside what is real or realised, and becoming just as formative. Brainard hit on a brilliant device with his simple phrase. As the late Paul Auster observed in a reissue introduction in 2013, you can hardly read the book without having your own memories stirred. But Auster also notes that, despite having read the work several times, he finds it ironically hard to remember. It's true that while the form and certain memories are indelible, the way the book strikes you upon each reading is liable to change entirely. This is a function of Brainard's compacted form, which gives us only the memory, without interpretation, adornment, or association. Each is unburdened and capacious; as available to new meaning and feeling as one of the rocks Brainard remembers collecting, the ones 'you pick up and once inside wonder why.' It's a relentlessly specific time-capsule of a book, which bizarrely, movingly, seems to slip the confines of time.

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