Led by the acclaimed percussionist and Mammal Hands member Jesse Barrett, this trio is a masterclass in musical boundary-crossing. Known for his virtuosic tabla playing and deep roots in North Indian classical music, Jesse joins forces with long-time collaborators Peter Beardsworth and Owen Morgan to create something truly unique: a sound that is part meditative soundscape, part propulsive jazz.
Their music feels like a conversation across centuries – blending the discipline of traditional taals with the fluid, experimental energy of the UK jazz scene. Ahead of their much-anticipated debut album, Adhyatma, the trio is bringing their hypnotic live show to the Sonic Wave night at The Cut in Halesworth on March 14th. Expect a performance that is as much about spiritual exploration as it is about incredible musicianship.
We get to chat:
HC: Jesse, you’ve been described as ‘virtuosic’ by The Guardian for your tabla and percussion work. How does the trio format allow you to push the physical and sonic boundaries of the tabla compared to your solo work? Jesse: What I’m doing in this trio is pushing the combination of drum kit and tabla. Since leaving Mammal Hands I have been focused on developing a floor seated set of drums specifically designed to blend well with the tabla and allow for a more seamless exploration of the space between those worlds. Bringing the philosophy of the tabla to the fore, and allowing that feeling to permeate the whole set up.
HC: Your new album is out now, why was Adhyatma the right name for this specific collection of songs? Jesse: Adhyatma roughly translates as “the wisdom of the self”. Making the record was a really reflective and intuitive process and it felt like it was coming from something subconscious and wise that I needed to follow.
HC: Having spent years with Mammal Hands, how did the writing process for Adhyatma differ? Was there a specific moment or sound that made you realize these compositions needed their own new trio? Jesse: The main difference was that I was making the bulk of the album on my own and it was very experimental. I would make a whole tune and then ask Pete and or Owen to come and play around with what I had done. Then I’d make more edits and find the finished tune from there. It’s a testament to how good they both are that they could so seamlessly find a way into that approach. But I don’t really “write” for the trio when we play live. That side of it is completely open and it behaves more as an improvisational unit. Both Pete and Owen are amazing improvisers, so it’s just really fun.
HC: Peter is a known multi-instrumentalist. On this upcoming record, what are some of the more “unexpected” textures or instruments we can look forward to hearing? Jesse: Pete just plays flute on the record but live he dives into quite a few sounds. Synth, FX set ups and sometimes voice and sax too. The record is so varied sound wise its hard to explain. There’s so many textures and different bits of sound design its a best to just give it a listen!
HC: The album reportedly blurs the lines between ancient and modern. How do you balance the strict, traditional structures of North Indian taals with the fluidity of modern electronics and jazz? Jesse: There are some tracks that adhere strictly to a set taal structure like “liminal flowers pt 1” which is in a 12 beat cycle. And some that are much more loose and free flowing. I think I just try different approaches out and if I like the results I keep going! Tabla is an extremely flexible and lyrical instrument, so it can be used in many ways other than the very traditional approach in Hindustani music, while staying true to its roots.
HC: What’s the ideal setting for someone to listen to the new album for the first time – headphones in the dark or a crowded room? Jesse: Definitely it’s a chill out album. It’s for healing and having a sonic brain bath. I’d say headphones looking out of the window at the rain, or eye’s closed.
HC: You’re sharing the bill with the Anna Mudeka. Are there any shared musical philosophies or ‘rhythmic dialogues’ you see between her Zimbabwean influences and your own North Indian/jazz explorations? Jesse: To me music is all one, and all musicians share one language. Anna Mudeka is such a stalwart in East Anglia and I have massive respect for what she has given to the scene over the years.
HC: What’s the one thing you want the audience at Sonic Wave to feel the moment you hit the stage on March 14th? Jesse: I hope people feel open and comfortable, and I hope we can all unite in that moment and have some fun!
Yes, the legendary rock ‘n’ roll musical, Richard O’Brien’s Rocky Horror Show is back on the Ipswich stage, to the delight of many.
Love it, hate it, have no idea what it is (where have you been?) this show remains one of the most curious things in the history of musical theatre. Originally a low-budget tribute to 1950s science fiction and B-movie horror, a niche in itself, the show has evolved into a global rite of passage for the inquisitive. The current UK tour proves that while the ‘shock value’ of its 1973 debut has softened into nostalgia, the production remains a masterclass in audience-driven immersive performance. In other words – this uniquely bonkers, sexy, sci-fi, suspender-wearing musical is still a strong favourite.
Directed by Christopher Luscombe, this iteration is a sleek, high-octane machine with a cinema-inspired set design to create a vibrant, comic-book aesthetic. The use of a static cut-out car and a vertical bed for the infamous seduction scenes are clever nods to the show’s low-budget origins, elevated by expect lighting, plenty of fog, and not forgetting the sparkly skimpy costumes.
Musically, the production is secured by a five-piece band who deliver the score with a loud intensity that prioritises rock-and-roll energy over lyrical subtlety. While brisk tempo can occasionally mute the sensuality of numbers like Touch-a, Touch-a, Touch Me, it ensures the show maintains a relentless momentum.
The success of any Rocky Horror production rests on the shoulders of its key characters. Dr Frank-N-Furter, (more usually played by Stephen Webb) was on this show night played by Ed Bullingham, and what a fabulous performance Ed gave. He offers a more conventionally seductive and athletic interpretation leaning into the character’s fierce authority and risqué physicality.
The Narrator, played with razor-sharp wit by Jackie Clune, must be the hardest role as the actor must act as a lightning rod for the audience’s scripted (and unscripted) heckles. Clune was excellent at weaving in timely political barbs – referencing everything from Donald Trump to local geography – ensuring the 50-year-old script feels current.
Brad and Janet: James Bisp and Haley Flaherty master the transition from ‘squeaky-clean squares’ to liberated participants. Flaherty, a veteran of the role, portrays Janet’s descent into ‘a creature of the night’ with a nuanced vocal performance that prevents the character from becoming a mere caricature.
It does feel as though the show is of two-halves, however. The first act is a relentless parade of hits (Science Fiction/Double Feature, Dammit Janet, The Time Warp, Sweet Transvestite). In contrast, the second act often struggles with its own ‘wafer-thin’ plot, and to be honest I was lost a few times. However it fits the Sci-Fi B-movie parody by giving way to a messy alien coup which no-one actually seems to mind due to the audience participation. it is the core architecture of the show. The fascination lies in how the production manages to be both a rigid ritual (where fans shout specific lines at specific times) and a spontaneous party.
The 2026 tour of The Rocky Horror Show is less a piece of traditional theatre and more a communal exorcism of social inhibition. It is fast, filthy, and unapologetically loud with a polished, professional joy that makes it impossible to dislike.
Photo credit – David Freeman
Rocky Horror Show is playing at Ipswich Regent Theatre until 31st January
Now in its 27th year BurySOUND 2025 kicks off with a fantastic Heat One, not only filled to the brim with people for a sold out show, it was filled to the brim with talent!!
Winners of Heat One: Krumpets
Krumpets were the last on the bill to showcase their sound, which was uniquely whimsical with elements of dreamy shoegaze with folky backnotes. Although not letting the crowd getting too comfortable with the lovely voices and harmonies, they switch it up to a screaming rock beat that blew the roof off! Plus there was a banjo.
It was a very, very tough heat for the judges to decide and lots of discussions took place on all the artists before a decision was made.
Artists in Heat One:
Grace Wells – singer songwriter with a beautiful voice. Her songs were well constructed and told stories against her sounds of her electric guitar.
Blaaze – what an energetic performance from a rapper who is only 14 years old – very impressive performance. The speed of his words left us all out of breath and he was able to create melodic rhythmical beats for his backing tracks.
Helix – a welcome return for a confident Helix who reached the final last year again left an impression with their slick guitar, fantastic drumming and indie rocking tracks
Sub-Liminal – a punk/goth/rock group with a lead singer who has some angst to share. With hints of Toyah and Siouxsie, this band are constantly improving.
The headlining act while the judges were deliberating were Headcheck were keeping the crowd entertained with their indie/pop/rock tracks.
The Eastern Angles Christmas show is a beloved local tradition, known for its irreverent humour and regional twist on classics. Their production of Robert Louis Stevenson’s classic Treasure Island is trading the Caribbean’s sun-drenched sands for the misty, legend-haunted coastline of Suffolk in a Voyage to the Lost Town of Dunwich.
As always, the production is not just a panto alternative; it’s a brilliant fusion of swashbuckling adventure and cheeky East Anglian charm, a treasure chest of inventiveness that genuinely captivates the whole family.
From the moment the lights dim, the small, intimate space transforms. With Eastern Angles’ trademark clever staging, in their tiny theatre is less a stage and more the deck of a rolling, creaking ship. I’m always blown away by the levels of creativity within such a small space, and it only adds to the magic.
The narrative thrust, the famous search for Captain Flint’s buried gold, is given a potent local anchor by setting the action near Dunwich, the lost town said to have been swallowed by the waves. This Suffolk twist elevates the adventure, lending a poignant, almost gothic mystery to the journey that most traditional pantos lack.
The four-strong cast are, as always, the engine room of the show. With the energy of a full crew, they multi-role with seamless, hilarious dexterity. One moment, the captivating Emma Zadow is Grandma and then the dastardly Long John Silver,delivering the villainous quips with a captivating, roguish twinkle.
The delightful Chileya Mwampulo as Jim Hawkins is perfectly played with a necessary mix of wide-eyed innocence and burgeoning courage, anchoring the show’s emotional heart amidst the chaos of mutinous pirates and talking parrots (in this case, a well-executed piece of puppetry).
The amazing Charlie Venables and Georgina Liley had three characters each to juggle, which they managed with ease, as well Georgina playing a few instruments. When I say there were no outstanding performances this is because they were all outstanding.
Alongside the main crew are the youngsters from the community theatre and youth workshops who have real parts and melt the hearts of the audience.
As always, what truly sets Eastern Angles apart is the music and humour. Forget generic pop; the original songs are catchy, cleverly woven into the plot, and full of regional references that drew the most appreciative chuckles from the Ipswich audience.
The production manages the difficult feat of feeling both epic and intimate. The innovative use of simple props and dynamic sound allows the audience to visualize everything. You’re not just watching the adventure; you’re practically sailing the high seas with them. You can see the expressions on their faces and the twinkle in their eye, it truly draws you in.
Treasure Island offers something far richer than a traditional shouty panto, it’s a festive adventure built on brilliant storytelling, exceptional multi-rolling, and a deep, infectious love for the East Anglian landscape.
Treasure Island is playing until 10th January with performances in both Ipswich and Woodbridge. For more information go here:
The Mercury Theatre’s annual pantomime is always a highlight of the festive season, but this year’s production of Mother Goose is a spectacular celebration marking the tenth year of the legendary partnership between Dame Antony Stuart-Hicks and Dale Superville.
This production has pulled out all the stops, trading in the traditional cottage for the big top of the Circus which brings an endless array of creative entertainment!
At the very heart of the Colchester panto is the undeniable, electric chemistry between Antony Stuart-Hicks’ Gertie Goose and Dale Superville’s Billy the Goose. Stuart-Hicks, cementing his status as an award-winning Dame, delivers Gertie Goose as a glamorous circus owner, mastering the art of the outrageous costumes and the perfectly pitched ad-lib. His banter with the audience is hilarious, ensuring every adult feels slightly nervous and every child feels totally included. Although I have to say there were a couple of ‘over the line’ jokes which thankfully the kids didn’t pick up on, but the rest were funny enough for a mixed audience.
Dale Superville, as the charmingly mischievous Billy, is his ideal foil. Their physical comedy routines and tangible bond and desire to make each other laugh, are a masterclass in collaboration. This relationship brings huge roars of applause from the audience and making us feel part of their dysfunctional, loving family.
The plot, cleverly updates the classic moral tale of Mother Goose choosing vanity over love. Gertie and her daughter Gracie (a delightful Daisy Greenwood) are battling to save their circus from the wonderfully wicked Baroness Bellinora Badapple. Disguised as a wicked beauty guru who tempts Gertie with the promise of eternal youth in exchange for her golden egg-laying son, Billy. Jaimie Pruden is magnificent as the Baroness, a captivating baddie, matched in vocal power by the returning Sasha Latoya as the eternally radiant and very sparkly Fairy Fortuna, who leads the cast in a uniquely soulful rendition of Always Look on the Bright Side of Life. The entire cast delivers strong vocal performances and maintains a relentless pace filled with humour, dancing, banter, and lots of shouting.
The second half it where it really all comes together, not particularly for Kemi Clarke, who plays Bailey, but where there is far more chaos and some brilliantly written, choreographed and performed scenes.
Visually, this panto explodes with colour, detail, and pure panto magic from lavish circus sets to the spectacular, glitter-drenched costumes, the production level is exceptionally high and it’s no wonder many flock to the Mercury for festive fun.
