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Time Out
2 days ago
- Entertainment
- Time Out
BBC's ‘Mix Tape' Soundtrack: Full Tracklist of Songs by Episode
One of those decades-spanning love stories that puts you through the emotional wringer, Mix Tape is a perfect binge for anyone who still wistfully remembers One Day (Netflix series, book or movie). And in a twist of fate, the BBC/Binge four-parter also stars Jim Sturgess, the lead in the 2011 One Day movie, as another lovelorn character who holds a torch for an old flame from his teenage years into his middle years. Sturgess plays Daniel and The Fall Guy 's Teresa Palmer is his long-time crush Alison in a music-soaked romantic drama that follows the pair from their partying youths (where they're played by Bridgerton 's Florence Hunt and newcomer Rory Walton-Smith) to wobbly married lives with other people on different continents. As its title implies, the bond of music – especially alternative anthems of the '80s and '90s – offers a motif for the pair's enduring connection throughout the series. And what a soundtrack it is, reflecting the music scenes of its two cities – Sheffield and Sydney – in fairly iconic style. In common with the novel on which its based, the show packs in a crate load of tunes: from Aussie bands like 1927 and The Church, to British post-punk legends like The Psychedelic Furs and The Cure, and Sheffield hometown heroes Arctic Monkeys and Richard Hawley. Listen out for the great Nick Drake too. Here's the soundtrack in full: EPISODE 1 Fool's Gold – The Stone Roses Home is the Range – The Comsat Angels Bizarre Love Triangle – New Order Fluorescent Adolescent – Arctic Monkeys Sweet Tooth Outlaw – The Psychs Prize – Kitchens of Distinction Northern Sky – Nick Drake Late Again - ALWAYS Road – Nick Drake Outro – Jackson Reid Briggs & The Heaters Under The Milky Way - The Church Close To Me - The Cure Stephanie Says - The Velvet Underground Some Candy Talking - The Jesus and Mary Chain EPISODE 2 Hit the North – The Fall That's When I Think of You - 1927 Love My Way - The Psychedelic Furs Lovesong - The Cure Tainted Love - Gloria Jones The Deepest Sighs, The Frankest Shadow s - Gang of Youths EPISODE 3 Big Jet Plane - Angus and Julia Stone Something Is - Richard Hawley Love Will Tear Us Apart - Joy Division Bizarre Love Triangle - Frente! EPISODE 4 I Fall Apart - Rory Gallagher She is Everything – Blue In Heaven Background Check - Display Homes I Love You - The Brian Jonestown Massacre Live It Up - Mental As Anything Lovesong - The Cure How can I watch Mix Tape? All four episodes are on BBC iPlayer now. The best TV and streaming shows of 2025 (so far). The 101 most romantic movies of all time.
BBC News
29-06-2025
- Entertainment
- BBC News
Fans and musicians share memories of Sheffield's The Leadmill
It is a venue that has been associated with music in Sheffield for 45 years, but The Leadmill has hosted its final gig and club night after losing a long battle with its landlords. For fans, musicians and the city it marks the end of an era. For Neil White, a gig-goer in its heyday, the venue will always be "iconic"."People of my age who came to uni in Sheffield, it's just so ingrained in our memories," the 52-year-old said."You feel part of Sheffield. It's the dirty brick. You feel like you're part of the steel city."What you are experiencing is gold because of the music."For Mr White his memories are forever linked to those student nights and £1 vodka and Red Bulls in the 1990s."It was fantastic and people came here, week in and out. I remember the sticky floors." For Sheffield guitarist and singer Richard Hawley, who has played with Pulp, The Leadmill was comparable to the other great northern cradles of live music."It's our Cavern Club, our Hacienda and once the doors close that history's wiped out," he has played The Leadmill more than any other artist, from his first gig with his father and uncle aged 16, through to his most recent show 42 years later, at 58."I've danced on that floor with my wife and with friends who are not here any more."It's just a special place. It is so woven into the very fabric of who we are."The Electric Group acquired the freehold to the building in 2017 and gave the management of The Leadmill notice to owners have said that it will remain as a music venue, but a name change is a long legal fight, The Leadmill's hopes to remain in the building ended in Group said: "What we are intending to do is refurbish the building to create a touring standard space, hosting the coolest club brands and music and live shows, just like we do in Brixton, Newcastle and Bristol." Hawley has said he will not return to the venue on principle."I just really feel for the folks who work here and the people of Sheffield," he said."Because of the success of people like me, Arctic Monkeys, Pulp and all the other great bands, John McClure, the rave scene."It isn't right that somebody from outside who has got plenty of cash just goes 'I'll have that because that's really successful.' " One of The Leadmill's members of staff who spoke about the impact of its closure was events assistant Mike Cross."I know a lot of Sheffield is feeling gutted," he said."It's hard to lose a grassroots venue, especially when they are the heartbeat of the community and provide so many people with a safe place."He said it could also impact artists at the beginning of their musical careers with so many venues closing."It will potentially mean less and less homegrown British artists coming through," he added. Allan and Paula Rickwood from Woodhouse, Sheffield, have been married for 41 years and have attended gigs at The Leadmill for four Rickwood said the venue's draw over the years had been the range of artists it had supported."Bands like Pulp. a lot of people started out here."Just the way they are prepared to put on the local bands and then watch them grow. It's a great scene."Mr Rickwood was not sure if he would return after the new owners took his wife was more positive."I think I would come back to see how it is," she said. Over the decades The Leadmill has hosted Pulp, Coldplay, Arctic Monkeys, The Stone Roses and 21, Thomas Ball is too young to remember these bands in their pomp, but the student and his father Jonathon, 50, have attended recent gigs."I think it's the history," he said."I've been massively into music for years, seeing some of the bands who have started here and performed here I've always felt more of a connection than anywhere else."He said the venue "felt a bit like a second home"."Walking in there and seeing the same familiar faces – it will always be a special place for me."Jonathon, who travels from Leicester to be part of the audiences, added: "We always keep an eye on who's performing."Its not the closest (venue), but any opportunity to come up. We saw The Kooks do a little impromptu acoustic set, but really The Leadmill is the home of Richard Hawley and we've seen him a few times."His son added: "You see the same four to five walls, the same faces, the same people on the door, behind the bar. It feels more like a family in that sense."Thomas was not convinced he would return following the closure."As much as I love the building, probably not."It would almost be a disservice to The Leadmill to go to the new venue. I can't do it. It just won't feel the same." Listen to highlights from South Yorkshire on BBC Sounds, catch up with the latest episode of Look North
The Guardian
23-06-2025
- Entertainment
- The Guardian
‘Not all grassroots venues are struggling': Sheffield's Leadmill may be closing, but the city's DIY hubs are thriving
'I'll never set foot in this venue again,' Richard Hawley proclaimed from the Leadmill stage last week, as he bowed out with his final shows there. Hawley first played the much-loved Sheffield music venue in 1984, four years after it opened in 1980. This week, it's closing its doors – at least in its current incarnation. Miles Kane will give the final performance on Friday. 'I feel honoured to be closing it,' says Kane. 'It's the end of an era and we have got to do it justice.' While these closing gigs indicate a venue going out on a triumphant high, there's no ignoring the fact that the end of the Leadmill has been clouded by a hugely acrimonious, bitter, prolonged fight and accompanying legal battle – one that isn't as clearcut as some headlines around the crisis facing Britain's small venues. In March 2022, the Leadmill was served an eviction notice by its landlords Electric Group, a company owned by Dominic Madden, which also operates multiple venues across the UK such as Electric Brixton and NX Newcastle. Madden bought the building that houses the Leadmill in 2017 and later announced plans to continue operating it as a new, refurbished, music venue. The initial story, and reaction, was of the big bully London landlord coming to Sheffield to boot out a beloved institution and trade off its hard-earned success. Many people, such as Hawley, still passionately feel this is the case. He has described the process as simply 'theft'. The Leadmill ran a campaign called 'The battle for the soul of Sheffield', stating: 'If we don't stop this hostile takeover, the very soul and character of our great city is at risk.' There have been many angry and inflammatory exchanges ever since. The Leadmill's director, Phil Mills, even applied for permission to demolish part of the building before having to vacate. The Leadmill did not respond to multiple requests for comment and Madden said he would only speak off the record. The campaign prompted support from Pulp frontman Jarvis Cocker – 'they may own the bricks and mortar, but they don't own the spirit of the Leadmill' – and local MP Louise Haigh, who described it as 'devastating'. But the story has transpired to be much more knotty and complex – largely revealed in superb reporting by Victoria Munro of the Sheffield Tribune. When the Leadmill opened in the 1980s, the venue was a multi-arts co-op that was rooted in social and political issues and intended to help address sharply rising youth unemployment in the city. It later became a charity and by the 1990s, with Mills at the helm, was turned into a for-profit business. Some argue this professionalised the venue and made it the success and cultural touchstone it is today. Others feel that it killed the original spirit of the place and was akin to what Electric Group are doing today. One of the original founders, Chris Andrews, has publicly wished bankruptcy on Mills during the legal dispute. The Leadmill finally lost their appeal for eviction and are now due to vacate the premises. To hit home just how messy the narrative has become, Kane was unaware, in our interview, that it was even continuing as a music venue. Many locals are understandably mourning the loss of a name and sense of place that holds a lot of memories and formative experiences for them – even if perhaps not everyone is reliably informed about what exactly will come next. Which is somewhat understandable. Concrete plans and dates for the new venue are not yet public but the building is going to have a refurbishment estimated at a cost of around £2-3m that Madden initially said 'will be a slightly more polished, probably modernised, version of the same thing'. Later, after tensions had flared and he had been accused of benefiting from the Leadmill's reputation, he stressed that he was 'going to do something very different'. The Leadmill, as a promoter, still has pre-existing bookings stretching to spring 2026, which have been moved to other Sheffield venues. But the idea that Sheffield's independent music soul is being ripped out as a result of the Leadmill furore overshadows the city's thriving DIY music culture – something that should be held up as an antidote to the small venues crisis. 'It's as strong as I've known it for a long time,' says Paul Tuffs, who runs Sidney & Matilda, an independent venue with three gig rooms varying from 80-250 capacity. 'It's not all doom and gloom.' The city has always struggled with mid-sized venues. 'There's a bit of a ceiling in Sheffield,' says Tuffs. 'We miss that 500–900 space. If you go to Leeds, there's probably half a dozen. Manchester is the same.' It's frustrating – although there are more gigs popping up at the 500-cap Crookes Social Club – but in its place has blossomed a genuinely thriving and diverse collection of smaller venues and DIY spaces with strong identities. Gut Level is a queer-led event space and collective that leans towards dance music. Delicious Clam is the kind of place you'll find Crack Cloud or Hotline TNT playing before they blow up. The Lughole is a mecca for punk and hardcore; Hatch is a haven for experimental goings on, while promoters Sonido Polifonico regularly use a 1500s Tudor building, Bishops' House, for intimate shows. There's also a £7m council-funded venue, Events Central, due to open next year. Then throw in Alder, Hagglers Corner, Dryad Works, Plot 22, Yellow Arch, the Greystones, Network, plus independent music festivals such No Bounds, Get Together, Float Along, and Sensoria, and what Sheffield has is a healthy, vibrant and staunchly independent network. A genuine community has sprung from this. 'We've started a network of independent venues to get together and help each other,' says Gut Level's Katie Matthews. 'It's about moving away from the idea that all grassroots venues are struggling. It's not really a good message to put out there – it's quite depressing.' Gut Level is a members' club and has a total of about 5,000, with roughly 600 paying monthly – a remarkable feat for a venue that has only been in its current location and iteration for a year. Sign up to Sleeve Notes Get music news, bold reviews and unexpected extras. Every genre, every era, every week after newsletter promotion 'For a long time nobody has really been arsed about us, unlike in other cities where you might get a lot of development and investment,' says Matthews. 'But it means that we've just been left alone and so the people of Sheffield have created things for the other people of Sheffield. There is a real grassroots spirit. Maybe in a different city you'd have one space that has different nights – but we have these micro clubs that all have their own different flavours.' For Nick Potter, often found manically pinballing around audiences in a wedding dress as the frontperson of experimental rock band Dearthworms, this has resulted in a key cultural attitude. 'It's almost like an anti-growth argument in a way,' he suggests. 'It shows you can have something that's really healthy and beneficial but it doesn't have to be vastly successful and constantly growing and getting bigger. Plus, these places are cheaper.' To Potter's point, if you head to Sheffield City Hall – recently taken over by ASM Global, the world's largest venue management company – you'll now pay £8.25 for a pint of mass-produced beer. At Delicious Clam it's £4.50 for a pint from a local brewery. If there's one person who understands the huge significance in embracing and celebrating the smaller end of music venues in Sheffield, it's Tuffs, who has been putting on gigs in the city since his days working at the Grapes back in the early 2000s. The small Irish pub utilised its upstairs function room for gigs, including the first ever show by Arctic Monkeys. 'It's important to treasure these sacred places,' he says. 'They're the lifeblood of the city in many ways. Without places like this, the story of Sheffield would be a lot shorter. And a lot more boring.' And so as the Leadmill winds up its heroic 45-year run, there is no denying its vastly important role in the history of music in the city, or people's sadness at the end of an era. But if you're searching for the independent soul of Sheffield music in its wake: you really don't have far to look at all.
Yahoo
29-03-2025
- Entertainment
- Yahoo
Mogwai and English Teacher play Radio 6 Festival
Another two excellent acts took to the stage on Friday night bringing a unique collaboration - and surprise guest. It was the second night that the BBC Radio 6 Festival was held in Victoria Warehouse following Ezra Collective and Fat Dog on Thursday (March 27). The show was opened by a set from BBC Radio 6 DJ Tom Ravenscroft. Art-punk band English Teacher, fronted by East Lancs singer Lily Fontaine, from Colne, hot off the heels of winning the Mercury Prize for their debut album, This Could Be Texas, played next. A highly anticipated show, the band started with the album's title track before playing the single "The World's Biggest Paving Slab". English Teacher frontwoman Lily Fontaine (Image: BBC Radio 6 Music / Shirlaine Forrest) English Teacher was joined on stage by special guest Richard Hawley for a rendition of "Transmission" by Joy Division. Lily Fontaine said: "The only thing more nerve-wracking than playing Joy Division in Manchester, is playing Joy Division in Manchester next to Richard Hawley." Then replying to someone in the audience, the frontwoman said: "That's a good point, it is Salford. "I'm sorry." Following this interaction the frontwoman said "let's play a hit" before the band broke into "R&B". English Teacher were joined by special guest Richard Hawley (Image: BBC Radio 6 Music / Shirlaine Forrest) The song sounded even better than the studio version with the band bringing so much more energy into their performance. Headliners Mogwai prepped the stage with brass instruments for the KNDS Fairey Acid Brass to play. The band started strong with two instrumental tracks, accentuated by an impressive light show. The Scottish post-rock band created an incredible atmosphere throughout the gig with synthesiser-thick soundscapes that built into a massive wall of sound. The brass band joined them for a unique collaboration on songs "Ether", "Burn Girl Prom Queen" and "2 Rights Make 1 Wrong". Mogwai played at the Victoria Warehouse with support from English Teacher (Image: BBC Radio 6 Music / Shirlaine Forrest) Drummer Doug Frost of English Teacher explained how the collaboration with Richard Hawley came to be. He said: "Hawley gave me his number when we supported him, and then whilst English Teacher were in Tokyo, I texted him to ask him to appear for our show, and then he called me whilst I was in bed, and he was in bed with his dogs. "Then we chatted for about an hour!" READ MORE: Hope and Anchor in Doffcocker puts on first of many live music gigs READ MORE: Zoe Ball tells Johnny Ball she is in a good place after quitting show READ MORE: Pete Doherty invites local busker to perform at Oldham gig After the performance Lily Fontaine said: "I think it were fun, I were grinning at the end." Richard said: "Well, not to get too serious but they're from Leeds, I'm from Sheffield and we've played a Manchester classic. "Some people might say sacrilege, but I think it's respectful and honourable."
