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
Newmarket Racecourses are thrilled to welcome the return of KAISER CHIEFS to the July Course, marking their first appearance since their blistering headline in 2019. The announcement also completes the music line-up for the summer season, with the Brit Award-winning band taking to the stage in the afternoon on Summer Saturday Live, 22nd August.
Formed in Leeds in 2000, Kaiser Chiefs are one of the leading bands of their generation. Fronted by the charismatic Ricky Wilson with Simon Rix on bass, Andrew ‘Whitey’ White on guitar, Nick ‘Peanut’ Baines on keyboards and drummer Vijay Mistry, the band have had a string of anthemic hits such as “Oh My God,” “I Predict A Riot,” “Everyday I Love You Less and Less,” “Never Miss A Beat” and “Hole In My Soul”.
The band have released 8 original studio albums which includes their Mercury nominated debut, Employment which sold over 2 million copies, its number 1 follow up, Yours Truly, Angry Mob, which went twice-platinum in the UK alone and Education Education Education and War which entered the UK Album Charts at number 1. They have achieved, top ten singles including the infamous number 1 hit “Ruby,” 3 Brit Awards, an Ivor Novello award for Album of the Year, toured with U2, Foo Fighters and Green Day and sold 8 million albums.
Sophie Able, Newmarket Racecourses and International Director, said “Kaiser Chiefs are a firm favourite here at Newmarket. As 2025 marks the 20th anniversary of their debut album Employment, you can be sure to hear all your favourite hits when they headline Summer Saturday Live on 22nd August. The line-up for Newmarket Nights in 2026 is now complete and incredibly strong, offering something for everyone, with headliners spanning a wide range of genres. We can’t wait to welcome many of you this summer for some remarkable evenings of music and racing.”
The Newmarket Nights series continues to set the standard for value-packed entertainment in the East, combining thrilling afternoon racing with full headline performances from some of the nation’s biggest music stars. With a single ticket granting access to both world-class racing and live music, fans enjoy an unforgettable afternoon (and night out) at exceptional value. The experience is further enhanced by a diverse range of food options, from vibrant street food offerings to Newmarket’s renowned selection of outstanding restaurants.
Tickets for KAISER CHIEFS will be on sale at 10am on Friday 30th January via thejockeyclub.co.uk/newmarket, pricedstarting from £36. There will be a presale at 10am on Thursday 29th January for those on the Newmarket Racecourses mailing list, register here.
Tickets for all shows in the Newmarket Nights season are now on sale.
2026 Newmarket Nights Season Friday 19th June – FIVE
The iconic British boyband comprised of Ritchie Neville, Scott Robinson, Sean Conlon, Abz Love and J Brown are one of the UK’s most beloved pop acts. Bursting onto the scene in the late 1990s, they scored multiple UK and international hits – including “Keep On Movin” and “Everybody Get Up” – and sold millions of records worldwide during their original run. The lineup reunited for the first time in over two decades last year for a huge arena tour, including 3 sold-out shows at London’s The O2.
Friday 26th June – BASEMENT JAXX
Basement Jaxx are the innovative British electronic music duo behind some of the most influential dance-punk and house tracks of the last three decades. Known for singles including “Red Alert,” “Romeo,” “Do Your Thing” and “Where’s Your Head At,” their debut album Remedy helped define late-90s house music and introduced genre-bending energy to a global audience. They continue to deliver dynamic full live band shows, including having headlined both the Pyramid Stage and the Other Stage at Glastonbury Festival, that blend electronic, funk, soul and pop in unforgettable performances.
Friday 17th July – MADNESS
Madness’s energetic blend of ska, pop and reggae had made them one of the UK’s defining bands. With a rich catalogue of classics including “Our House,” “Baggy Trousers,” “It Must Be Love” and “House of Fun,” the band have amassed more than three decades of chart success, with 12 UK Top 10 albums and numerous singles that remain staples of British music culture. In recent years, they released a career-spanning hits compilation Hit Parade, hit UK No.1 with studio album Theatre Of The Absurd Presents C’est la Vie, and continue to perform live to thousands of fans, bringing their spirited shows to arenas and outdoor festivals across the UK.
Friday 31st July – AITCH
The 26-year-old Mancunian rapper has rapidly risen from his YouTube beginnings to become one of the UK’s most successful contemporary hip-hop artists. A BRIT Award winner for Best Hip-Hop, Grime and Rap Act, Aitch is a platinum-selling artist with 9 UK Top 10 singles and 4 Top 10 albums. His sharp lyricism, chart-dominating collaborations and crossover appeal have cemented his place at the forefront of British rap. A firm fan favourite, he recently finished fourth in the 25th series of I’m a Celebrity…Get Me Out of Here!
Friday 7th August – JESSIE J
Jessie J first rose to global prominence with chart-topping hits such as “Price Tag,” “Bang Bang” and “Domino”. With multiple number one singles, she is celebrated for her powerhouse vocals, dynamic live performances and her role as a coach on The Voice. In 2025, she released her sixth studio album Don’t Tease Me With a Good Time, her first full-length project in nearly eight years, showcasing deeply personal songwriting and marking a powerful new chapter in her artistic evolution.
Friday 14th August – CRAIG DAVID’S TS5
26 years since the critically acclaimed album, Born To Do It changed his life, Craig David has clocked up an astounding 26 UK top 40 singles, 11 UK top 40 albums and over 5 billion streams worldwide, achieving multi-platinum status in more than 20 countries around the world. With two UK Number 1 albums under his belt, he has also received multiple BRIT Award and Grammy nominations. Alongside his solo catalogue, Craig created TS5 – a world-renowned DJ and party brand blending UK garage, house and R&B – which has played major festivals and club residencies worldwide, becoming a defining live experience in its own right.
Saturday 22nd August – KAISER CHIEFS – Summer Saturday Live
Formed in Leeds in 2000, Kaiser Chiefs are one of the leading bands of their generation. Fronted by the charismatic Ricky Wilson with Simon Rix on bass, Andrew ‘Whitey’ White on guitar, Nick ‘Peanut’ Baines on keyboards and drummer Vijay Mistry, the band have had a string of anthemic hits such as “Oh My God,” “I Predict A Riot,” “Everyday I Love You Less and Less,” “Never Miss A Beat” and “Hole In My Soul”.
The band have released 8 original studio albums which includes their Mercury nominated debut, Employment which sold over 2 million copies, its number 1 follow up, Yours Truly, Angry Mob, which went twice-platinum in the UK alone and Education Education Education and War which entered the UK Album Charts at number 1. They have achieved, top ten singles including the infamous number 1 hit “Ruby,” 3 Brit Awards, an Ivor Novello award for Album of the Year, toured with U2, Foo Fighters and Green Day and sold 8 million albums.
ABOUT NEWMARKET RACECOURSES Newmarket’s two magical racecourses, the Rowley Mile and the July Course, together form the greatest venue in the East of England. Hosting exhilarating world class Flat racing, pulsating music nights, great value family days, award-winning restaurants and exceptional conferences, in 2016 Newmarket Racecourses proudly celebrated 350 years of extraordinary royal patronage.
Newmarket Racecourses are part of The Jockey Club which stages thrilling sporting occasions including the Randox Grand National, The Cheltenham Festival and The Cazoo Derby. Millions of people every year enjoy the special experiences on offer through racing, music, food and entertainment. Governed by Royal Charter, every penny made goes back into British Racing to help the sport thrive. The Jockey Club was founded in 1750 and today is the largest commercial group in Britain’s second-biggest spectator sport (2018 turnover: £214.6 million), operating 15 racecourses nationwide, The National Stud, Jockey Club Estates, Jockey Club Catering, Jockey Club Live and the charity, Racing Welfare. For more information visit thejockeyclub.co.uk.
Voting opens today in the annual EAFN Festival of the Year awards which covers festivals taking place in the East of England.
Each new year brings with it a flurry of awards ceremonies across the entertainment world. Soon, audiences will be anticipating the nominations for The Oscars, The Emmys, The Grammys, and The Tonys, among others. While these are internationally renowned, the East of England has its own significant accolades: The Golden Mike Awards, which may be less known globally but hold great importance regionally.
Every January, the East Anglian Festival Network (EAFN) compiles comprehensive data from the previous year’s festivals. This information is then presented county by county, giving the public the opportunity to vote for their favourite festival in the region.
What began as a light-hearted initiative a decade ago in Cambridgeshire and Suffolk has now grown to include all the counties in the East of England: Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Norfolk, and Suffolk. The awards have become a staple in the region’s festival calendar, celebrating the diversity and vibrancy of local events.
Festival organisers, whether they oversee large-scale or more intimate events, see these awards as well-deserved recognition for the immense effort involved in delivering much-loved occasions. Over the next two weeks, organisers will be encouraging fans, volunteers, suppliers, and stall holders to support them by casting their votes.
Tony Bell, a freelance photographer covering entertainment in the Eastern region on behalf of the EAFN, shares his perspective: “I know first hand what it takes to put on an event. Most are run, or at least supported, by groups of volunteers without whom few of these events would happen at all. The Annual EAFN Awards is just a small recognition of the work involved in making events happen.”
The top festival in each county is awarded the prestigious ‘Golden Mike’ trophy. Mike Wilson, founder of the EAFN, will present this accolade at EAFN26—the annual East of England trade show and conference for the festival industry — set to take place in St Ives in October.
In Suffolk Weird & Wonderful Wood have been county winners for the last three years, can they make it four in a row? In addition to county winners, an overall award for the best festival in the region is also presented. For the past two years, the ALB Festival in Colchester, Essex, has held this distinction.
The results will be announced online on Monday 9th February 2026.
*PIONEERING A SUSTAINABLE APPROACH TO TOURING, TALENT DEVELOPMENT AND COMMUNITY ENGAGEMENT*
*BRINGING NEW VOICES AND LOCAL STORIES TO THE STAGE*
*LAUNCHING WITH A BOLD NEW MUSICAL INSPIRED BY EAST ANGLIA’S HERITAGE*
*MAJOR ARTS COUNCIL ENGLAND NATIONAL LOTTERY TOURING GRANT AWARDED*
Seven of East Anglia’s leading theatre and arts organisations have joined forces to launch the East Anglian Touring Consortium. The ambitious collaboration, the first of its kind in the region, will introduce a fresh and innovative approach designed to tackle the challenges of midscale touring and bring high-quality, original theatre made by and for the people of East Anglia to communities across the region and beyond.
The collaboration will see Eastern Angles, HighTide,Landmark Theatres (New Theatre Peterborough), Mercury Theatre Colchester, New Wolsey Theatre, Queen’s Theatre Hornchurch, and Theatre Royal Bury St Edmunds work together to pilot a region-wide sustainable model for midscale touring with a clear focus on new writing, local talent development, skills development and audience development.
Backed by a National Lottery Project Grant from Arts Council England, with significant funding from each of the consortium members, the project is designed to be both financially and environmentally sustainable.
“This is a very exciting moment for theatre in East Anglia,” said Paul Jepson, CEO and Creative Director of Landmark Theatres, on behalf of the consortium. “This collaboration allows us to deliver high-quality, newly commissioned work at scale, reaching under-served rural communities across the region, while also benefiting from the sharing of our combined skills. We’ll be announcing the first production very soon – watch this space.”
Inclusion, Access, and Local Impact
At their core the East Anglia Touring Consortium aims to increase meaningful access and inclusion across diverse, underserved and marginalised communities, particularly those from lower socio-economic backgrounds and rurally isolated areas, their robust audience development strategy will look to increase new audiences and attendance from targeted postcodes whilst also distributing a percentage of tickets to these communities through local networks. Whilst hoping to reach a live audience of over 15,000, the consortium will work with local community partners with the aim to deliver access for an additional 3,000 viewers reached through a digital release designed to serve isolated rural communities.
Investing in Regional Talent and Infrastructure
The project is a strategic investment in East Anglia’s creative economy. At least 50% of the freelance workforce will be drawn from the region and a week-long development period with target audiences will ensure the work is co-created with community input. In addition, the consortium will facilitate peer learning, staff training, and shared knowledge-building across organisations.
A Model for the Future
The touring model will be independently evaluated to shape future strategies and encourage wider adoption across the UK. Whilst strengthening collaboration among East Anglia’s arts organisations it is hoped this pilot will pave the way for more resilient, collaborative approaches to theatre-making nationwide.
The model will also aim to reduce environmental impact by meeting Green Book Intermediate Level standards, lowering tour haulage, and encouraging audience use of sustainable transport options.
A world premiere musical production
The consortium’s debut production will be announced shortly. With early development already underway, the ambitious new original British musical will draw inspiration from East Anglia’s rich cultural history. This collaboration brings together top-tier creatives committed to crafting intelligent, popular narratives with socio-political themes. It is written by Olivier Award-winning writer, composer, and performer Vikki Stone who says: “It is a delight to work with the East Anglia Touring Consortium team to develop this exciting new show. We can’t wait to share the news but can tell you now that you can expect a show that is bold, loud, and joyfully defiant, which celebrates the rich cultural history of the area!”
Lead produced by the New Wolsey Theatre, the production will tour five local venues, with a digital release designed to serve isolated rural communities. Douglas Rintoul, Chief Executive/Artistic Director, says: ‘This is not just about creating one ambitious show. It marks a level of collaboration never before seen in our region. This investment, and the collective ambition behind it, allows us to think bigger than ever for East Anglia – telling epic stories rooted in our people and places, while laying the foundations for a legacy of bold theatre-making for years to come.’”
The show may be under wraps for now but stay tuned for more exciting news from the East Anglia Touring Consortium.
