Blog Page 1569

Investigation: JCR Presidents

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Ninety years after the first women joined Oxford University, a Cherwell investigation shows they remain significantly under-represented as Presidents of our JCRs. Gathering the names of 200 JCR presidents from the last ten years, it appears that only one third of PresCom members have been female. A comprehensive survey of the last fi ve years (150 presidents) shows that 32% were women.

Partial data since 2003 suggests much the same story. This year, 11 out of 30 JCRs have elected female presidents. The lowest number of recorded JCR presidents was in Michaelmas 2011, when only 7 of 30 JCRs had female presidents, less than one quarter of PresCom.

However, the data also suggests the situation may be improving. In 2009, there were 8 female and 22 male JCR Presidents, but by 2012 this has risen to include 16 female presidents, the first year in the university’s history that the number of women outnumbered men. Rachel Jeal, Lincoln JCR President, suggested there may soon be equal numbers of men and women. “There does not feel like there is any gender based distinction in character (who is more vocal, for example) among the Presidents.

Whilst in the past it may have been male dominated it is very quickly evening out, and is more a case of personality that determines who stands for president rather than gender.” Despite the apparent increase in the number of women across the university, the data does highlight certain colleges which do not follow the trend.

Balliol, which has admitted women since 1979, has not elected a female president since 2005. In 2007, Hannah Lochead served as president – however, she was not elected, taking over after the death of a male president. Speaking to Cherwell, Alex Bartram, Balliol’s current JCR President, said “Judging by the make-up of PresCom, Balliol is not the only one to have this problem. I’ll be honest, however you look at it it’s a bad situation and it needs to change. I should make clear that it’s not as if women don’t play a very big part within the JCR; indeed, the current JCR Vice-President and Treasurer are both women. But clearly something’s going wrong somewhere.

“The (Balliol) JCR, unlike most JCRs, has two dedicated Women’s Offi cers to highlight the fact that inequality still exists, which I think is important.

“I’ll encourage women to run for Committee positions and for President, but it’s difficult to see a quick fix and condescending to suggest that there ought to be one.”

It is a similar case for Keble, who have not had a female President for eight years. Sean Ford, Keble’s JCR President, commented that the lack of female presidents was a “real shame” but stated, “all I can say is that we run fair and open elections and if you look at the broader committee then there is a much more of a balance with 9 out of the 18 members being women.”

St Catherine’s, despite being one of the first colleges to allow women entry, has not had a female JCR President in the past five years. At LMH, although one of the past six Presidents was female, she resigned her presidency due to personal reasons, and was replaced by a man. LMH’s JCR president, Jonathan Chapman said there “is no notable reason” why LMH has had no recent female president.

Chapman told Cherwell, “Given the brevity of the period, it seems to be an coincidence. The current JCR Executive is split 50:50 between men and women… I am sure this presidential anomaly will change in the future, especially given the historical and continued pro-equality stance our College takes.”

Nevertheless, one LMH student commented, “Even though the Vice-President at the moment is a woman, it often feels like the JCR Exec is male dominated. It might not be the case statistically but it does feel, to me at least, like women are in the minority when it comes to college politics.”

St Hilda’s College, which was the last women’s college to admit men in 2008, saw male JCR presidents elected for two years after it went mixed. Caroline Rogers, the JCR’s Women’s Officer, commented, “One of the reasons that St Hilda’s remained a single-sex college for so long was out of a desire to ensure that women would receive the same opportunities as men – five years on, these statistics prove that the gender imbalance continues to be striking among JCRs”

Many students have argued that women remain underrepresented across Oxford. At the beginning of 2012 there was still a gap in the number of female and male students attending the University overall, with only 45% being women (compared to 56% nationally in 2011/12). The numbers for undergraduates, postgraduates and research students are 46%, 45% and 42% respectively.

Although 48% of Oxford staff are women, 59% of administrative and support staff are female. One quarter of academic staff are women. Meanwhile just 20% of all professorships are held by women.

Gender differences also surface in a finals gap: in 2012 32% of men obtained a fi rst, compared with 26% of women. University reports into these differences have shown that this gap varies by size each year, but a gap persists. A proportion of the difference is attributable to subject choice, since fewer women study those subjects in the sciences which award the highest proportion of firsts (e.g. Engineering, Maths, Physics).

In some subjects – Biological Sciences, Geography, Modern Languages – the advantage has swung from male to female and back again over the last 12 years or so. In others, there has been a consistent male advantage.

Rapid change has occurred in one area however. In 2012-13, 40% of University Council members were female, up from just 29% in 2010.

Ethnicity

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The investigation also reveals that, despite recently facing criticism for a lack of black and ethnic minority (BME) undergraduates, minority students are well represented as JCR presidents.

By researching the ethnicity of all JCR presidents since 2008, Cherwell can reveal that the number of minority presidents closely reflects their number within the University. Of the 150 JCR presidents since 2008, 21 were non-white – 14% of the total number. This exceeds the intake for domestic BME students in the University, who make up 13% of undergraduates.

Oxford has frequently been criticised for failing to admit more BME students from the UK.

In 2011, David Cameron branded the University “disgraceful” for taking “only one black person” as an undergraduate in 2009. It later transpired that in fact this fi gure only referred to Black Caribbean students. There were actually a total of 26 students in the 2009 intake who identified as black, causing the University to brand Cameron’s comments “incorrect and highly misleading.”

The University still receives frequent criticism for the university’s relationship with minority students. In Trinity term of 2013 Cherwell reported that two first year students had attended a bop at St. Hugh’s having blacked up as ‘Niggas in Paris.’ At the time, the African Society President Melvin Mezue commented that “such acts are not uncommon around the University.”

However, it remains unclear what proportion of JCR Presidents across the whole five years are British BME students, rather than international students from ethnic minorities.

According to the data collected, a breakdown of JCR presidents for Michaelmas 2013 suggests that British BME are underrepresented as JCR presidents this term. Of the 30 undergraduate colleges, only three have minority JCR presidents, or 10% of the presidents. However, only one of these presidents is a British student. There are also two white, non-British JCR Presidents.

Indeed, some students have suggested that the number of ethnic minority JCR presidents is due to the high number of international students who are JCR presidents, not British BME students. One second year PPEist suggested, “The number of minority JCR presidents is probably due to international students. This isn’t surprising – a lot of international students went to private schools, and it’s private schools which dominate Oxford’s extra-curricular scene anyway.”

Speaking to Cherwell, David White, a former Pembroke JCR President said, “Looking as Prescom itself can be diffi cult as there is a very small sample size, only around 30 people, and perhaps things should be looked at on a college by college basis.

“I would say that on behalf of Pembroke, our JCR Presidents over the past few years have been diverse both in terms of race and gender. As long as each college elects who is best then it doesn’t matter who they are. The key thing is that everyone has the opportunity to run and to be fully supported if they are elected – there should be no prejudice in the whole system. As a British Ethnic Minority student I felt I had the full support of Pembroke throughout my time as President, and didn’t feel like my minority status gave me either a noteworthy advantage or disadvantage.”

The University has repeatedly stated that it makes great eff orts to ensure ethnic minority students are well represented in the University. According to its equality policy, “The University embraces diversity amongst its members and seeks to achieve equity in the experience, progression and achievement of all students and staff through the implementation of transparent policies, practices and procedures and the provision of effective support.”

Speaking at his Oration last week, the Vice-Chancellor stated, “It is only by having a fully diverse workforce, where people are appointed and promoted solely according to their merits, that the University can achieve the very best in teaching and research.”

Are our JCRs male-dominated?

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Ninety years after the first women joined Oxford University, a Cherwell investigation shows they remain significantly under-represented as Presidents of our JCRs. Gathering the names of 200 JCR presidents from the last ten years, it appears that only one third of PresCom members have been female. A comprehensive survey of the last fi ve years (150 presidents) shows that 32% were women.

Partial data since 2003 suggests much the same story. This year, 11 out of 30 JCRs have elected female presidents. The lowest number of recorded JCR presidents was in Michaelmas 2011, when only 7 of 30 JCRs had female presidents, less than one quarter of PresCom.

However, the data also suggests the situation may be improving. In 2009, there were 8 female and 22 male JCR Presidents, but by 2012
this has risen to include 16 female presidents, the first year in the university’s history that the number of women outnumbered men. Rachel Jeal, Lincoln JCR President, suggested there may soon be equal numbers of men and women. “There does not feel like there is any gender based distinction in character (who is more vocal, for example) among the Presidents.

Whilst in the past it may have been male dominated it is very quickly evening out, and is more a case of personality that determines who stands for president rather than gender.” Despite the apparent increase in the number of women across the university, the data does highlight certain colleges which do not follow the trend.

Balliol, which has admitted women since 1979, has not elected a female president since 2005. In 2007, Hannah Lochead served as president
– however, she was not elected, taking over after the death of a male president. Speaking to Cherwell, Alex Bartram, Balliol’s current JCR President, said “Judging by the make-up of PresCom, Balliol is not the only one to have this problem. I’ll be honest, however you look at it it’s a bad situation and it needs to change. I should make clear that it’s not as if women don’t play a very big part within the JCR; indeed, the current JCR Vice-President and Treasurer are both women. But clearly something’s going wrong somewhere.

“The (Balliol) JCR, unlike most JCRs, has two dedicated Women’s Offi cers to highlight the fact that inequality still exists, which I think is important.

“I’ll encourage women to run for Committee positions and for President, but it’s difficult to see a quick fix and condescending to suggest that there ought to be one.”

It is a similar case for Keble, who have not had a female President for eight years. Sean Ford, Keble’s JCR President, commented that the lack of female presidents was a “real shame” but stated, “all I can say is that we run fair and open elections and if you look at the broader committee then there is a much more of a balance with 9 out of the 18 members being women.”

St Catherine’s, despite being one of the first colleges to allow women entry, has not had a female JCR President in the past five years. At LMH, although one of the past six Presidents was female, she resigned her presidency due to personal reasons, and was replaced by a man. LMH’s JCR president, Jonathan Chapman said there “is no notable reason” why LMH has had no recent female president.

Chapman told Cherwell, “Given the brevity of the period, it seems to be an coincidence. The current JCR Executive is split 50:50 between men and women… I am sure this presidential anomaly will change in the future, especially given the historical and continued pro-equality stance our College takes.”

Nevertheless, one LMH student commented, “Even though the Vice-President at the moment is a woman, it often feels like the JCR Exec is male dominated. It might not be the case statistically but it does feel, to me at least, like women are in the minority when it comes to college politics.”

St Hilda’s College, which was the last women’s college to admit men in 2008, saw male JCR presidents elected for two years after it went
mixed. Caroline Rogers, the JCR’s Women’s Officer, commented, “One of the reasons that St Hilda’s remained a single-sex college for so long was out of a desire to ensure that women would receive the same opportunities as men – five years on, these statistics prove that the
gender imbalance continues to be striking among JCRs”

Many students have argued that women remain underrepresented across Oxford. At the beginning of 2012 there was still a gap in the number of female and male students attending the University overall, with only 45% being women (compared to 56% nationally in 2011/12). The numbers for undergraduates, postgraduates and research students are 46%, 45% and 42% respectively.

Although 48% of Oxford staff are women, 59% of administrative and support staff are female. One quarter of academic staff are women. Meanwhile just 20% of all professorships are held by women.

Gender differences also surface in a finals gap: in 2012 32% of men obtained a first, compared with 26% of women. University reports into these differences have shown that this gap varies by size each year, but a gap persists. A proportion of the difference is attributable to subject choice, since fewer women study those subjects in the sciences which award the highest proportion of firsts (e.g. Engineering, Maths, Physics).

In some subjects – Biological Sciences, Geography, Modern Languages – the advantage has swung from male to female and back again over the last 12 years or so. In others, there has been a consistent male advantage.

Rapid change has occurred in one area however. In 2012-13, 40% of University Council members were female, up from just 29% in 2010.

Ethnicity

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The investigation also reveals that, despite recently facing criticism for a lack of black and ethnic minority (BME) undergraduates, minority students are well represented as JCR presidents.

By researching the ethnicity of all JCR presidents since 2008, Cherwell can reveal that the number of minority presidents closely reflects their number within the University. Of the 150 JCR presidents since 2008, 21 were non-white – 14% of the total number. This exceeds the intake
for domestic BME students in the University, who make up 13% of undergraduates.

Oxford has frequently been criticised for failing to admit more BME students from the UK.

In 2011, David Cameron branded the University “disgraceful” for taking “only one black person” as an undergraduate in 2009. It later transpired that in fact this fi gure only referred to Black Caribbean students. There were actually a total of 26 students in the 2009 intake who identified as black, causing the University to brand Cameron’s comments “incorrect and highly misleading.”

The University still receives frequent criticism for the university’s relationship with minority students. In Trinity term of 2013 Cherwell reported that two first year students had attended a bop at St. Hugh’s having blacked up as ‘Niggas in Paris.’ At the time, the African Society President Melvin Mezue commented that “such acts are not uncommon around the University.”

However, it remains unclear what proportion of JCR Presidents across the whole five years are British BME students, rather than international students from ethnic minorities.

According to the data collected, a breakdown of JCR presidents for Michaelmas 2013 suggests that British BME are underrepresented as JCR presidents this term. Of the 30 undergraduate colleges, only three have minority JCR presidents, or 10% of the presidents. However, only one of these presidents is a British student. There are also two white, non-British JCR Presidents.

Indeed, some students have suggested that the number of ethnic minority JCR presidents is due to the high number of international students who are JCR presidents, not British BME students. One second year PPEist suggested, “The number of minority JCR presidents is probably due to international students. This isn’t surprising – a lot of international students went to private schools, and it’s private schools which dominate Oxford’s extra-curricular scene anyway.”

Speaking to Cherwell, David White, a former Pembroke JCR President said, “Looking as Prescom itself can be diffi cult as there is a very small sample size, only around 30 people, and perhaps things should be looked at on a college by college basis.

“I would say that on behalf of Pembroke, our JCR Presidents over the past few years have been diverse both in terms of race and gender. As long as each college elects who is best then it doesn’t matter who they are. The key thing is that everyone has the opportunity to run and to be fully supported if they are elected – there should be no prejudice in the whole system. As a British Ethnic Minority student I felt I had the full support of Pembroke throughout my time as President, and didn’t feel like my minority status gave me either a noteworthy advantage or disadvantage.”

The University has repeatedly stated that it makes great eff orts to ensure ethnic minority students are well represented in the University. According to its equality policy, “The University embraces diversity amongst its members and seeks to achieve equity in the experience, progression and achievement of all students and staff through the implementation of transparent policies, practices and procedures and the provision of eff ective support.”

Speaking at his Oration last week, the Vice-Chancellor stated, “It is only by having a fully diverse workforce, where people are appointed and promoted solely according to their merits, that the University can achieve the very best in teaching and research.”

Oodles of OUDS

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OUDS (Oxford University Dramatic Society) exists to facilitate Oxford drama. Whatever thespian inclinations you have, OUDS is there for you in your dramatic endeavours. President Katie Ebner-Land wants to operate OUDS on one basic imperative: “encouraging people to put on interesting and important theatre, as well as theatre that’s raucous and brilliant and fun.”

Under this umbrella fall ‘Plays in the Pub’, an initiative set up by Ebner-Landy which meets at the White Rabbit on Thursdays of even weeks at 8pm.  All are invited to take part in the reading of a play and capitalise on a 10% discount on drinks. The idea was born of Ebner-Landy’s realisation last Hilary that she couldn’t remember the last time she saw a play in Oxford written by a woman. “I wanted to use Plays in the Pub to expose the fact that female playwrights exist. Hopefully, this will prompt people to put in bids to perform a Caryl Churchill or a Polly Stenham instead of another Stoppard or Shakespeare.”

Last term, female playwrights, such as Caryl Churchill (of Top Girls fame) and Lisa d’Amour, were featured and this term will see plays from black writers, like Kwame Kewi-Armah and August Wilson.

OUDS also runs workshops which aim to demonstrate that theatre can be more than self-reflective and serve a greater purpose in society.  4th week sees a Responsible Theatre Workshop at Keble: Freedom Theatre is a theatre company that works in the Palestinian Jenin refugee camp and aims to “empower youth and women in the community and to explore the potential of arts as an important catalyst for social change”.

For the techies among us, there is TAFF (Tabs are For Flying) who are responsible for the technical side of theatre and without whom a production would never come into being.  Sets, props, costumes all work towards helping an audience suspend their disbelief and are all too often overlooked. Photographers and artists are also needed to the design publicity posters, programmes and set too!

So, there is oodles to get involved with: acting, directing, social issues, stage managing, set-building, photography. If you have an idea, a skill or a simply a pair of hands to lend, let OUDS know and you’ll soon find yourself in the fun and social world of theatre in Oxford.  Ebner-Landy hopes to get Brookes more involved in Oxford University drama over the year ahead, and says she’s looking forward to seeing Foxfinder at the Keble O’Reilly in 3rd week. “Oh, and Cuppers of course!”

To find out more about OUDS, click here

Fire at Oxford immigration detention centre

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At approximately 9pm last night a fire began in one of the centre’s three blocks. Reports suggest that it had been put under control by midnight.

The centre, run privately by MITIE, has bed space male long-term detainees awaiting case resolutions and subsequent expulsion from the United Kingdom, according to the UK Border Agency.

A Home Office spokesman has said that about half of the detainees are being relocated to other centres.

Rebel Yell

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Model Alice Evans

Photographer & Stylist Tamison O’Connor

Clothes Check dress, Primark; Boots, Ash; Fishnet tights, Boots; Ring (worn throughout), model’s own; Black slip dress and Check shirt, both Zara;Cross necklace, Topshop; Chain necklace with black beads, Bex Rox; Heavy chain necklace, Maria Francesca Pepe; Boots and tights, as before; Black playsuit with collar, Zara; Sparkly brogues, Office

 

Preview: Spoonface Steinberg

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Spoonface Steinberg is a play about an autistic seven-year-old girl with terminal cancer. It’s also quite funny.

The piece was originally written for the radio, and this is reflected in its simplicity. One actress scampers alone around her bedroom, chattering away to no-one in particular. It may seem a truism, but the success of the play therefore depends almost entirely on the performance of the actress in question. Luckily, Alice Porter is excellent. At times, I looked at her and saw a child.

Unexpectedly, Porter told me that she found it harder to act convincingly as a child than to convey the effects of autism or cancer. The production/direction tag team of Flo Brady and Luke Rollason have evidently spent a long time helping her ease herself into this alien role. From digging out old home videos of the Rollason brood to spending hours capering round their houses like toddlers, their attention to detail has helped Porter to develop a character which she very seldom breaks.

When I entered the room, she was already in character, clutching a felt-tip pen and scribbling away on the floor. Throughout the preview, the most moving moments were conducted in breathless silence. Without speaking a word, Porter conveyed a sense of mingled innocence and wisdom. Her breathless naivety was amongst the most complex emotions I have seen conveyed by any actor at Oxford.

There are some elements of her performance which are not yet as convincing. In part, these stem from the near-impossibility of realistically portraying an autistic child. Many autistic people, particularly children, struggle to maintain eye contact with others- a clear barrier to maintaining the audience’s focus. More generally, a truly realistic script would probably be impossible to follow. At such a young age, even relatively moderate autism often creates near-impassable and immensely frustrating barriers in communication.

To an extent, the script does seek to circumnavigate this. Spoonface often speaks in phrases and mannerisms gleaned from the adults around her, after the fashion of children everywhere, and this helps the audience to understand her rambling and insular monologue. Much of the gentle humour is derived from the patently inappropriate nature of these lines.  Her childish description of adult emotional situations she clearly cannot comprehend is often heartbreaking, but equally Porter draws laughs from the dark absurdities of the script. This is not gallows humour, but MRI machine mirth.

Physically, she could do more to make the extent of the character’s condition clear. Her presentation of autism is most convincing when she has a specific action to perform, for example when bashing tunelessly but gleefully on a tiny toy piano. Some campaigners for disabled rights feel that it is inappropriate for able-bodied actors to fill disabled roles. Despite these understandable concerns, Porter has clearly thought long and hard about the role. It feels as though she has resolved the issue of how to connect with her audience whilst remaining believably detached from reality.

Much to my relief, the directors eschewed the tired theatrical practice of never allowing their actress to face away from the audience. Porter is free to wander the stage, and to connect with the audience, seemingly at random, whenever she lands on some new physical stimulation. The performance of the actress is so captivating because the experience she and her directors have created is so deeply personal. As an audience member, I felt like a stuffed animal in Spoonface’s bedroom, a quiet intruder into her private inner world. The Burton Taylor is a small enough venue that this sense of intrusion will hopefully be preserved, and allow whole audiences into inside the unique mind of Spoonface.

Spoonface Steinberg will be playing at the BT Studio from Tuesday 22nd to Saturday 26th October. Tickets are available here

Cherwell Music’s Weekly Round-Up

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Panic! At The Disco- Too Weird To Live, Too Rare To Die

★☆☆☆☆
One Star 

It is easy to imagine the flipchart in the corner of the studio where Panic! At The Disco recorded their fourth album, Too Weird to Live, Too Rare to Die! Across the top, the words ‘What Is Cool And Relevant To Young People In 2013’ are underlined twice. Bullet-pointed below, we can read “Skrillex. Dub Step. Autotune. Imogen Heap. Trap Music. Vocoders.” Pop punk is conspicuously absent from this list. In a misguided attempt to stay relevant, P!ATD have bolted these contemporary chart staples onto their usual formula of cheesy sub-Killers whingeing. Charitably, this can be seen as a deliberate attempt to replicate the artificial hedonism of the city they name as a key influence, Las Vegas. However, the result is a mess. P!ATD are neither rare nor weird, they’re just desperate.

Moby- Innocents

★★★★☆
Four Stars

Moby told Time magazine back in August, “My goal is to make music that affects me emotionally, I don’t really care if it’s innovative or what genre it’s in.” This pretty much sums up Innocents: no gimmicks, no nonsense. Moby places you in a trance-like state and watches you glide off like driftwood downstream, very rarely going under or gasping for air, just enjoying where the journey’s heading – which remains enticingly vague. With piano arpeggios, airy synths and a gentle unearthing hum of percussion, Moby and his smattering of high-profi le friends (Wayne Coyne and Mark Lanegan feature) let you float away: b-e-a-utiful. 

Anna Calvi- One Breath

★★★★☆
Four Stars 

Anna Calvi’s sophomore effort is a step forward from her debut but she’s still wearing the same boots: it works. Her music has been refined, tweaked and touched up to produce an excellent piece. Her eponymous first album was filled with menace, but this one is even darker. It’s more experimental, but it’s also more delicate. The emotion swells gently, before bursting into life and then repeating. Though Calvi more often sounds emotionally bruised, she still fills the album with stirring calls to arms on this magnificent rollercoaster-ride which veers violently between love, lust and death.

Review: Miley Cyrus – Bangerz

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★★☆☆☆
Two Stars 

Oh Miley! Having put her tongue in her mouth for long enough to actually record an album Miley should’ve been doing less twerking and more tweaking: this latest offering feels incomplete, clumsy and average at best. Whilst you have to admire the Disney star’s PR panache. having consumed our lives for the last couple of months following a couple of minutes of shock tactics that weren’t even that shocking (‘Oh no! She gyrated with a foam finger!’) this album has become one of the most highly anticipated of the year, but really doesn’t deliver.

The ex-Hannah Montana highschool sweetheart is obviously yearning for a second wind and a career into her latter years, but Miley comes off sounding like a 14-year-old who has just discovered the art of copulation with tracks such as ‘SMS (Bangerz)’ and ‘4×4’. In ‘SMS’, she collaborates with fellow Disney-nut Britney Spears to rap about vibrators with the line “They ask me how I keep a man?/I keep a battery pack!”, whilst in ‘4×4’ she talks of “Driving so fast I’m about to piss on myself” bringing into question whether she was actually ever potty trained. The track also sees Pharrell Williams turn his talents to a country-esque hoedown, referencing the roots that Cyrus still can’t manage to shake off .

Musically, the album is rescued by Williams’ usual stardust, sprinkled on tracks such as the irresistibly funky ‘#GETITRIGHT’ (not the dreaded hashtag…) The album’s main producer, Mike WiLL Made It, despite evidently being a bit of a Will.i.am knock off on the spelling front – let’s not get started on Miley’s grammar – remains highly unimaginative with the odd dirty synth, way too much autotune and some particularly bland mixes. Miley is saved by her vocal performances on ‘Wrecking Ball’ and ‘FU’ which point to a future career on Broadway and prove that she can actually sing behind all the twerking and foam fingers.

Despite the hype, this album remains a flash-in-the-pan, good for YouTube hits and nothing else.

Interview: Drenge

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The city of Sheffield has a rich musical history counting Arctic Monkeys, Pulp and The Human League among its offspring. Clearly, there’s something about the Steel City that inspires its residents to greatness. The latest figures to raise their heads above the crowd are Eoin and Rory Loveless of Drenge. The harsh and rather angry sound of the band’s name definitely suits their musical style, though Eoin explains “we didn’t want to use a word in the English language that would give you some sort of pre-conceived idea about what our music is about”. The word is Danish for ‘boys’, though the Loveless brothers, in true English fashion, have bastardized the pronunciation to something quite unrecognizable to any self-respecting Dane.

As one would expect, Drenge have a rich musical family history. “Our dad was a saxophonist in a jazz band,” relates Eoin. “And a blues band before that. We used to go see them play and loads of other jazz gigs.” Clearly at some point they moved onto material that would produce Drenge’s distinctively grungy sound; Eoin says it is difficult to pinpoint musical influences because “we’ve listened to too much”. He does manage to put his finger on something a little more specific though, explaining that “we revisited a lot of music that we’d listened to in the past like Nirvana and the White Stripes. For us, that gives the album a sense of nostalgia.”

Their back-story is nothing new: Eoin talks about “gigging in Sheffield and playing the same places over and over again” and even refers to their past as a “pretty standard band story”. It’s clear that Drenge have put in their fair share of hard-work, and though their story may not be anything special, one listen to their eponymous debut would convince anyone otherwise. Clearly the music world agrees: the album has received rave reviews from all quarters, and Drenge recently played their debut headline show in Leeds’ famous Brudenell Social Club to a near-sellout crowd.

One of the main things that comes across from Drenge during the interview is how down-to-earth they are. In football, they support non-league nobodies Sheffi eld FC, whose chances this season are “non-existent” according to Eoin. They didn’t rush into releasing their debut album, taking three years to write and record all the material. Eoin isn’t at all pretentious about it, saying that it’s “just a collection of the songs that we’ve been playing in the past three years. It’s a document, it’s not a thematic piece of art”.

He still doesn’t care about the media interest surrounding former MP Tom Watson mentioning the band in his resignation letter, and says that their songs have “nothing to do with Parliament or Westminster. They’re just rock songs”.

Maybe as the stars align further for Drenge they’ll lose their modesty and their northern pragmatism, but it doesn’t seem likely. They’re good lads.

Live review: Babyshambles

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‘I have seen Pete Doherty play live. I will die happy.’ Or so I might have replied if you’d asked me to describe my thoughts about halfway through Babyshambles’ gig in Leamington Spa on Saturday evening. The gig had got off to a good start so far as I was concerned simply through the fact of the band’s attendance. I had learnt earlier in the night that Doherty had considered axing the whole tour the evening of the band’s first show because he no longer feels he needs gigs to attract women. This had not reinforced my already wavering confidence in the man’s professional integrity, so I was distinctly relieved when he entered the stage punctually and apparently (relatively) soberly at 9pm.

The band’s opening salvo was undeniably impressive. Highlight of the new album ‘Nothing comes to nothing’ sounded fresh and intense, whilst classics ‘Delivery’ and ‘Carry on up the morning’ retained their old spark. The band’s playing style was as satisfyingly shambolic as ever, the feeling that they were only just holding things together coming across as an exhilarating and carefully constructed performance rather than an omen of impending disaster.

Seven or eight songs in, however, things began to drop off. When played together live, it becomes depressingly apparent that the majority of the songs from the band’s new album do not stand up to their previous material. Doherty’s work has always and often successfully borrowed from that of other artists, yet the band’s new songs are derivative without offering anything new. ‘Penguins’, for example, sounds like a hammy rip-off of Lou Reed’s ‘Perfect Day’, ‘Dr No’ provides a sort of generic ska , whilst ‘Fireman’, worst of all, sounds like a lesser band’s attempt to write a song in the frenetic style of early Libertines classics like ‘Mayday’.

The poor quality of the songwriting was compounded as the set progressed by Doherty’s increasing drunkenness. Had this led to an implosion like those in previous of Doherty’s live shows this would at least have provided an impressive spectacle. Instead, the result was simply a failure to adequately engage with the audience, leading to a banal and unfocussed performance. The set was saved somewhat towards the end by a more engaging rendition of ‘What Katie did’ and a blistering performance of ‘Fuck forever’, but the enjoyment here was ultimately bittersweet, given the knowledge that these songs are now nearly ten years old.

In summary, it is hard to shake off the feeling that Pete Doherty’s star is waning. When on form Doherty remains a compelling performer. The prevailing impression on leaving the gig, however, was of an increasingly mediocre talent trading on past glories.