Last weekend, Bayer Leverkusen took on newly promoted Holstein Kiel in the side’s first ever league meeting, in what was expected to be a strong win for the home side.
Leverkusen fan takes part in passionate pre-match anthem – Photo: Ethan McDonagh
Holstein are playing their first top division German soccer since before the second World War and were expected to be beaten heavily.
However, Holstein had other ideas and despite being two goals down after eight minutes, they fought back to earn a draw.
Die Werkself came flying out at the start of the game, with Nigerian international Victor Boniface opening the scoring after just four minutes by placing a low driven shot past the keeper, whose touch wasn’t enough to prevent it from going in.
Things got even better for Leverkusen manager Xabi Alonso’s team in the eighth minute, with winger Jonas Hoffmann doubling the advantage with an accurate strike into the bottom left corner – after Holstein failed to properly clear the ball from a Boniface effort on target.
It looked like the game was going to be out of sight for the weekend in the 26th minute, when Boniface put another shot past Timon Weiner in goal – only for his effort to be ruled out for offside by the Video Assistant Referee.
At this point, it seemed like it was only a matter of time before Leverkusen scored more and would secure an easy victory. However, the Holstein players managed to improve their defending and keep Leverkusen’s chances to a minimum.
Then, just before half-time, the away side had a rare venture into the champion’s half and managed to get a goal back, with Max Geschwill powering the ball home with his shoulder following an excellent corner delivery by Lewis Holtby.
The pattern of play that saw Leverkusen as the team holding possession of the ball continued into the second half, as the hosts tried everything to break down the compact defending from the visitors.
A major shock occurred in the 68th minute, when Armin Gigovic managed to break past the Leverkusen defenders into the box and was brought down for a penalty by Jeremie Frimpong, who mistimed his challenge.
Jann-Fiete Arp kept his composure from the resulting spot-kick and sent Lukas Hradecky the wrong way, to bring The Storks back on level terms.
The remaining 25 or so minutes of the match was spent with Leverkusen in possession of the ball outside of Kiel’s box, as they desperately tried to retake the lead.
Try as they might, they were unable to breach the compact defence and were only able to go close on few occasions.
The Holstein players used every trick in the book to see out the result, from feigning an injury, to keeping the ball in the corner of the pitch for the remainder of the game.
They rewarded their excellent travelling away fans who were loud all game, with just their second point of the season as they try to avoid immediate relegation back to the second tier of German football.
Holstein have now conceded 19 goals in just 6 matches and will need to improve their defensive record if they are to have any chance of surviving in the topflight of German football.
Leverkusen on the other hand, have had quite a mixed start to their defence of the Bundesliga title season – having taken just 11 points from the opening six games, with three wins, two draws and one defeat.
They have however, already won the German Super Cup against Stuttgart and are perfect in the Champions League, having won their opening two fixtures against Feyenoord and Milan.
The atmosphere at the game was exceptional, with both sets of fans doing German soccer justice and living up to being some of the most passionate sports fans from across the globe.
Here’s a short video of some footage to capture the experience
Plans are underway for the return of the SPECIES Gothic and Industrial arts and culture festival to County Leitrim after a short absence.
SPECIES is a yearly festival that takes place in the Iron Mountains in County Leitrim. The festival is organised and run by Ilíocht O’Brien and his wife Harriet at their mountain home, and it features a vast array of Irish talent from both sides of the border, and abroad. The festival venue site has a very striking appearance with psychedelic coloured spiritual (but fun) murals mixed with Halloween images dotted around the venue. The first SPECIES festival was held during the May bank holiday weekend in 2015.
Now, over at An Dómhan Ilíocht, as Mr O’Brien calls it, they are busy preparing for the next Gothic and Industrial arts and culture gathering.
On the subject of the SPECIES festival return, Ilíocht said: “We are taking a break from hosting festivals up here while we are working on upgrading the site. SPECIES will return when we are ready, and at that time we will advertise extensively, and hope to re-unite all the beautiful weirdos up here!”
Psychedelic looking mural on site at SPECIES (above). (Photo: Derek Price)
The Great Hall band and DJ performing area at SPECIES. (above). (Photo: Derek Price)
A colourful wall mural at the venue. (above). (Photo: Derek Price)
Dublin duo Freak Control onstage. (above). (Photo: courtesy of Kilian McLiam)
DJ Syrinx (above). (Photo: Derek Price)
Outdoor scenery at SPECIES. (above). (Photo: Derek Price)
There is a big selection of vendors at the festival, selling all types of wares like clothing, furniture throws, and various kinds of fun bric-a-brac and knick-knacks. (above). (Photo: Derek Price)
Cute cuddly items on sale at the stalls. (above).(Photo: Derek Price)
SPECIES revellers keep warm well into the night (above). (Photo: Derek Price)
A view from the camping area (above).(Photo: Derek Price)
Species spooky environment with appropriate mysterious figures (above). (Photo: Derek Price)
Ilíocht,- the festival organiser, on the right, with a friend. (above). (Photo: Derek Price)
As WWE continues producing shows in their Covid-friendly arenas, Takeover 31 was just as impressive. Conn McGillion reviewed all the matches from Takeover 31 for The City.
Photo taken by Miguel Discart. Sourced from Flickr.
The first show to run from the Capital Wrestling Center (CWC)- the state of the art arena designed to house fans via live video feed from their own homes. The CWC is NXTs equivalent of Raw and Smackdowns ‘Thunderdome’. This show was not solely dominated by its main event- top to bottom, the show had plenty to offer.
This was a coming out party for O’Reilly. Balor is an established main eventer, but O’Reilly absolutely shone in his first singles title opportunity. And, these two men beat each other senseless. The chemistry they had was unbelievable, and this match is a must see.
This match was a brilliant showcase for both women. These two women are perhaps the best in the division at the moment, and they showed that in this classic.
Kushida def Velveteen Dream at 13:00- The story of this match was Dreams constant mocking of the Japanese superstar. The flamboyant Dream enters dressed as Doc Brown- a clear mockery of Kushida’s love for Back of the Future. The first portion of the match follows Kushidas uncontrolled fury. Far more aggressive and intense than usual, Kushida relentlessly targets Dreams arm. Dream eventually regains control by dumping Kushida to the outside, and works over Kushida.
Dream almost gets caught in Kushidas Hoverboard lock early, but he quickly scrambles to the rope. A powerbomb by Dream leads to another nearfall and another Purple Rainmaker connects- but, Dreams arm is too damaged to capitalise. Eventually, the arm becomes Dreams undoing- as Dream scales the top rope, Kushida runs up after him and locks in the Hoverboard lock again. Dream can’t break the hold- even as they drop to the mat, and Dream tries his signature Death Valley Driver. Eventually, Dream taps out- giving Kushida his first marquee win. After the match, Kushida continues to target Dream’s arm, until several refs drag him away.
This was a solid match. The story of it was clear- Kushida wanted to break Dream’s arm. Dreams played his part very well, and Kushida’s aggression is exactly what he needed. Ever since he came to NXT, he had been floating in the midcard- but, finally showing his aggressive streak was what he needed. A huge win over Velveteen Dream could prime Kushida for a title shot soon- perhaps for the Cruiserweight, or North American title.
Overall, this is a show worth seeking out if you enjoy physical wrestling and storytelling. The main event is a must see, and the post match angles certainly add intrigue for what is to come for Kyle O’Reilly and the Undisputed Era.
New York Times 2018 bestseller ‘Where the Crawdads Sing’, by Delia Owens
Attempting to focus your mind on literally anything that isn’t related to the coronavirus takes a special sort of superhuman mind control, but the debut novel by zoologist and nature writer Delia Owens had me transported to another world (and another ecosystem) writes Kate Brayden.
Set in the swamplands of North Carolina during the 1960s, gradually building tension into the 1970s, the American wildlife author utilises the environment to paint a portrait about the cruelty of enforced isolation.
The tale follows Kya Clark from the age of six up to 25, as she copes with her own abandonment by each member of her family until — at ten years old — she must learn to fend for herself. The swamp takes the place of her guardian, and though she is illiterate, her prowess as a biologist becomes unmatched.
North Carolina wetlands (Photo: iStock)
This takes inspiration from Owens’ own childhood in southern Georgia, where her mother used to tell her to “Go way out yonder where the crawdads sing.” Her mother taught her how to hike without stepping on rattle snakes, and not to fear the inhabitants of the ecosystem. Delia went on to spend most of her life in or near true wilderness, and since childhood has thought of the outdoors as a true companion and close friend.
Flicking back and forth through the timeline, the plot follows the mysterious murder of the town’s golden boy until the final answer is eventually revealed – but only after we witness Kya’s own fight for survival. Bigoted witnesses yearn to blame the murder on the “swamp girl”, with Owens using influences from crime fiction, nature writing and even YA romance to keep the reader consistently entertained. Owens also cleverly uses anecdotes of mating rituals of insects and animals as metaphors for the (usually fairly heartless) behaviour of the novel’s male characters.
Reese Witherspoon discusses the novel with author Delia Owens (Photo: Instagram)
As Kya grows, she acquires tricks from the marshlands surrounding her, learning how to fish and hunt in order to garner the cash for food. Later on, she utilises her observations of wildlife and applies them to dating when two boys of opposite backgrounds show an interest in her.
Despite being viewed as “white trash” and the epitome of a pariah, Kya is underestimated her entire life – learning camouflage to escape the clutches of those who target her.
The book cuts between the murder investigation and the progagonist’s lonely upbringing, dodging her abusive father while missing her mother and older brother, Jodie. Kya looks to nature for answers to the question of why everyone around her eventually leaves, but finds solace in guidance from a married couple who live in ‘Coloured Town’.
As a recluse with little vocabulary and a target of ridicule, she can relate to the prejudice ruthlessly handed down to the black people of the town.
A fascinating anomaly in publishing . I heard about this book 18 months ago due to its mystery content (heard some good things). Its delayed and long-running success this year is stunning and against-the-odds. The Long Tail of ‘Where the Crawdads Sing’ https://t.co/VOBQqFs4Ve
The compelling character will presumably be spun into a film role in the future, with a star turn by an up-and-coming actress. It was refreshing to read such a three-dimensional character, a fast-paced plot which left room for beautiful writing and a study of racial tensions and social division in a country that has much progress to make to achieve equality.
In a pandemic which shines a light on the frailty and failure of capitalism in a crisis, the book demands respect for the natural world and its inhabitants. Let it transport you to another era, another landscape and another mindset while you self-isolate indoors.
What book would TheCity.ie’s Cameron Weymes recommend reading while trapped inside during the Covid-19 pandemic? Here’s an alternate view on cog-in-the-wheel capitalism that will grab your attention.
Anthropologist David Graeber’s 2013 essay, On the Phenomenon of Bullshit Jobs, and 2018 follow-up book, Bullshit Jobs, are worth a revisit during the global coronavirus crisis.
Were we to get rid of the unnecessary jobs we keep inventing for ourselves, we would only be working 15 hour weeks, says Graeber.
“Say what you like about nurses, garbage collectors, or mechanics, it’s obvious that were they to vanish in a puff of smoke, the results would be immediate and catastrophic… It’s not entirely clear how humanity would suffer were all private equity CEOs, lobbyists, PR researchers, actuaries, telemarketers, bailiffs or legal consultants to similarly vanish (many suspect it might markedly improve).”
David Graeber – On the Phenomenon of Bullshit Jobs
Technological advancements and increased automation in production should have freed up our time for recreation by now, but instead the private sector has invented jobs to keep us busy and distracted.
Interviewees include people with job titles such as ‘Portfolio Coordinator’, ‘Assistant Localization Manager’ and ‘Senior Quality Performance Officer’; all of whom consider their professions to be entirely pointless.
Graeber is careful to distinguish between a “shit job” (a tough job that is necessary for the functioning of society, such as a bin man) and a “bullshit job” (one that is unnecessary and maybe even harmful, such as a corporate lawyer).
Image: Pexels
As the coronavirus crisis escalates, people all over the world have been increasingly reliant on medical workers, hospital cleaners, delivery drivers and supermarket staff.
Parents have gained a newfound respect for work done by teachers as they attempt to homeschool their children. In contrast, whether or not corporate lawyers or ‘Portfolio Coordinators’ have been going to work these past few weeks is yet to make a noticeable difference to our lives.
TheCity’s Ayumi Miyano offers her book recommendation for the duration of the quarantine period, with Oprah’s stamp of approval.
“A New Earth” is a spiritual guidance book written by German author Eckhart Tolle, which has been translated into 33 languages and has sold more than five million copies worldwide.
Among those the book has inspired is legendary talk show host and philanthropist Oprah Winfrey, who selected the book for Oprah’s Book Club and described it as a key novel on her “super soulful reading list”.
‘A New Earth’ author Eckhart Tolle and Oprah Winfrey (Photo: Oprah.com)
In this stressful society — in which we are currently under the threat of coronavirus — people are understandably struggling to find their peace of mind. When we feel worn out, it is common to practice yoga, meditation and mindfulness, among others, which broke onto the mainstream from religious practices and cultures.
“Most people are so completely identified with the voice in the head — the incessant stream of involuntary and compulsive thinking and the emotions that accompany it — that we may describe them as being possessed by their mind. As long as you are completely unaware of this, you take the thinker to be who you are. This is the egoic mind. We call it egoic because there is a sense of self, or I (ego), in every thought, every memory, every interpretation, opinion, viewpoint, reaction, emotion”
Eckhart Tolle
“A New Earth” would not necessarily offer us “the answer” but can encourage us to distance ourselves from our “egoic” mind. According to Tolle, people are trapped by their ego-defined story every day. Many people envision a voice inside their heads — “I want to be famous”, “I am a shy person”, “I am angry”— but he explains in the work that all of these stories are created by ego, and ego creates emotional drama in our lives.
Tolle illustrates how ego arises, creates negative stories, and how much it controls our perceptions of reality. Since this is not a scientific, or evidence-based book, many readers might ask what the rationale is behind his words.
If we let go of all evidence-based, efficient, and well-structured concepts for a while, we could realise exactly what our ego forces you to believe about yourself in day-to-day life with Tolle’s simple but inspirational words.
In the midst of the coronavirus lockdown, why not try “ego-distancing” with Eckhart Tolle’s book while social-distancing? If Oprah has offered her stamp of approval, we essentially don’t have any other option!
The four-man band used impressive graphics to frame the frontman Photo: Twitter
British pop-rock band The 1975 descended upon Dublin this week as part of their sold-out tours spanning across Ireland, the UK, Europe and North America: TheCity.ie’s Kate Brayden reviewed the band’s career-spanning set and triumphant return to the 3Arena.
The four-piece band who love to blur musical boundaries are back with a bang on Tuesday night to finish the current leg of their UK tour ahead of their forthcoming album release, with impressive tech stagecraft and playful lyrics dazzling their young audience.
Drummer and producer George Daniel, bassist and keyboard player Ross MacDonald, guitarist and keyboard player Adam Hann, and frontman Matt Healy always bring an enjoyable show, both visually and sonically, and their 3Arena show in Dublin is as fun as ever.
While not quite taking themselves too seriously to be accused of pretentiousness, the group always strive to create thought-provoking art. Idiosyncratic lyrics questioning our current society are a common feature – though the band flick back to relatable love songs when it suits them – while embodying playful and personal storytelling.
Their classic rectangle shape from their debut self-titled album was on show throughout Photo: Kate Brayden
Only a frontman of Matt Healy’s charisma, talent and charm could round out the varying moods and shifts in pace at The 1975’s gigs. The audience was completely enthralled by the singer, with a younger crowd of predominantly female fans potentially causing permanent damage to my eardrums. I can forgive “fangirling” when a concert is as enjoyable as this one, especially when Greta Thunberg is given a five-minute prerecorded slot to speak.
The band clearly have resonance with Gen-Z, through their quirky, intelligent (and at times confusing) lyrics: the youth like a challenge. Much of the audience know every word to every song, even ones which have only recently been leaked online, and vocalise their love for the frontman at every opportunity.
Healy’s ease onstage is reflected in his attitude toward the media, where he says exactly what is on his mind. It doesn’t always work out in his favour, but his legions of glowing fans embrace his imperfections. Emerging nonchalantly in a black hoodie for the intense opening number (People), Healy says very few sentences for the entire concert, except to request silence for Greta Thunberg’s monologue.
He could slander Michael D. Higgins and his beloved duo of pet Burmese mountain dogs and the crowd would go wild. He could state that the Irish Famine was a myth and the cheers would echo around the arena. The man is bulletproof to this audience, and he knows it. The band follow their opener with a throwback from their debut album, and follow this pattern as the evening goes on. They rarely stay in the past before pulling you back to their future, reminding the crowd of their hits while effortlessly showing their progression.
The 1975 ft. Greta Thunberg – The 1975 (YouTube)
Despite critics sometimes referring to Matt Healy as “preachy” for his consistent promotion of his personal political and sociological beliefs; his declarations of solidarity with oppressed groups forge a link between himself, his band’s music and their listeners who feel lost in an increasingly polarised, digitised world. He barely hits a dodgy note throughout the entire lengthy set, which continues for close to two hours and features songs from three previous albums and their upcoming venture.
The versatility of the band is shown off with their setlist, which is embellished by stylish, modern graphics which change throughout the night, as well as two dancers (the Jaiy twins). Colourful visuals ranging from the fun and imaginative to iconic and gripping are a core feature of the gig. Images of Grenfell, authoritarian leaders, fossil fuels burning, 9/11 and the body of three-year-old Syrian boy Alan Kurdi ensure that the audience’s attention is riveted to the stage at every moment.
The 1975 – Love It If We Made It (YouTube)
Political pop may become its own genre, but this pop-rock band are transcending the boxes they were formerly placed in with their new material. From Nineties pop-punk throwbacks (You + Me Together Song), classic hits (Chocolate, Robbers) to blistering scorchers that encourage the audience to “wake up” to inequalities around them (People, Love It If We Made It), their sound is constantly evolving:
‘I moved on her like a b*tch’, excited to be indicted, unrequited house with seven pools. The war has been incited and guess what? You’re all invited… Modernity has failed us.’ (Love It If We Made It, The 1975)
Rumour has it their upcoming album, Notes on a Conditional Form, will reportedly contain 22 tunes on its tracklist. Expected on April 24, the fourth body of work in the group’s history is set to alternate the course of their musical journey. NOACF follows the 1975’s third album – A Brief Inquiry Into Online Relationships (2018) – and is the second of two albums from their third release cycle, “Music for Cars”. Speaking to Annie Mac on BBC Radio 1, Healy explained that their new album would be inspired by British nighttime culture, describing various references to “the beauty of the M25 and all those lights and going to McDonald’s and listening to garage records in a haze in a Peugeot 206.” Healy later elaborated to Q Magazine, stating that the album has a style similar to English alternative hip hop music group The Streets and British electronic musicianBurial.
Me + You Together Song single cover art. Photo: Instagram
The band’s latest single, Birthday Party, was released on 19 February 2020. Examining ‘interesting social minutiae of house parties’, Healy created the song with a pretty niche music video. The creative is known for having a heavy role when it comes to the band’s graphics, music videos and album artwork, and the styles evolve with the ever-present quirks of his mind. Directed by Ben Ditto – the psychedelic visuals include digital avatars of the band members, well-known internet memes and artwork by Jon Emmony. Despite the unique specificity of their art, the group appear to have garnered a wide array of fans. Punchy, unapologetic pop tune The Sound fought back against critics and cemented the band as versatile hitmakers in 2016.
The music video was reportedly influenced by the incel culture of the Internet and the viral spread of memes originating on the dark web. In an interview with Dazed, the 30-year-old commented: “I think incel culture reveals a really interesting and scary perspective on men and how they deal with women. It’s a really fascinating world and I’m just interested in how it materialises in pop culture.” The former heroin addict is so open about his addictions, so disarmingly honest and factual about the inequalities that he can’t stop noticing around him and so comically blunt about his own flaws; it’s impossible not to be drawn towards him. He sings of society’s toxic relationship with various forms of excess; be it love, substance abuse, technology, consumption, greed, capitalism and pollution.
The 1975's (@the1975) 'A Brief Inquiry into Online Relationships,' out tomorrow, grapples with connection in the modern age, but it also chronicles frontman Matty Healy's (@Truman_Black) experience with heroin addiction and rehab. https://t.co/rpzkbQu5h4pic.twitter.com/aUVOKlwlbQ
Matty Healy hit the headlines after speaking out about his heroin addiction Photo: Twitter
The 1975 created their newest album after Healy’s stint in rehab in Barbados, but paradoxically; a joyful sound emerged as a result. Of course, there are references throughout the tracklist to his suicidal thoughts, preoccupation with a warped sense of self in a digital age and a fascination with the internet and his own identity within the world wide web. The rectangle staging changes throughout the gig, and at one point resembles an iPhone with Healy leaning casually against one side. The crowd filmed every millisecond on identical iPhones and Android devices, which was slightly hallucinogenicto observe. Did they realise that their idol is trying to send a pointed message about boundaries and technology? Probably not, but at least they enjoyed themselves.
Environmentalism has recently become a core aspect of the band, with the 1975 working with bonafide Swedish legend Greta Thunberg on a track in July of 2018. The song encouraged their vast array of listeners to join the Extinction Rebellion movement for climate with a stirring monologue from the climate activist. The crowd, unsurprisingly, did not stay silent (as Matty requested), but lifted up their hands and cheered at the end for the cause. The usually loose-lipped Healy was noticeably quiet in between songs, apart from shouting, “Hey, this isn’t a f**king Charlatans gig!” when a rendition of classic football chant “Olé, Olé, Olé” rang out. The teens in the crowd had no clue who the Charlatans were, unsurprisingly.
The 1975 have spoken out about the role which touring musicians play in carbon emissions
Support act Beabadoobee is worth praising for creating an intimate atmosphere in preparation for the main act. Gen-Z indie songwriter Bea Kristi – born in the Philippines and raised in west London – is a label mate of the 1975 on Dirty Hit. Her confessional bedroom pop songs and DIY 1990s aesthetic is the ideal touring mate for the 1975, with a balance of indie, rock and pop in the mix.
The buoyant calls for change have hopefully not gone unnoticed by the 13,000-strong crowd. With global political and societal turmoil seemingly everywhere, perhaps the 1975 are exactly the band to both distract audiences with pop-rock entertainment and connect with them on an uplifting, emotional level.
Up next in a Netflix new installment of ‘the coming of age genre with potentially problematic messages that are overlooked by majority of the public’, is Dumplin’.
We’ve seen the glorifying of jealous, possessive boyfriends and some questionable consent scenes in recent entries to the category, however beauty pageant-centred Dumplin’ takes the sash for somehow playing to every trope possible whilst also managing to be refreshingly offensive in its message.
Dumplin’ tells the story of Willowdean (Danielle Macdonald), a ‘fat’ Dolly Parton-obsessed teen whose mother, played by Jennifer Aniston, is a former beauty pageant queen heavily involved in the Miss Teen Bluebonnet Pageant. Willowdean, or Will as we come to know her, finds her late ‘fat’ aunt’s partially completed pageant application and decides to honour her by entering the pageant herself.
‘Aw, what a sweet, if slightly overplayed cliché’, you may find yourself thinking. But alas, Dumplin’ is not the classic tale of the ‘ugly’ girl who enters the pageant and miraculously wins, proving beauty comes in all shapes and sizes. In fact, though painfully predictable, a plot where the punchline is ‘beauty is only skin deep’ would’ve been more forgivable than where the movie actually goes.
Will persuades her mother to let her sign up in what could be considered an inspiring, though way off the bat, speech about every girl being worthy. But, from here it is all downhill. She proceeds to fat-shame a fellow contestant who wants nothing but to compete and make friends and even fights with her best friend for learning a dance, even going so far as accusing her of contributing to the ‘story that hates fat people’.
The irony is bigger than Dolly’s hair. While the secondary characters in the movie, even favourite-to-win Becca, played by Disney alum Dove Cameron, are all nothing but accepting of each other, the only one who is unable to see past appearances is Will herself. She eventually catches up to everyone else in the climax of the movie with the help of some loving drag queens she met briefly in a bar under the Dolly Parton soundtrack which seeks to reiterate, as though Jennifer Aniston’s attempt at a Texas accent isn’t painful enough, the movie’s country location.
Dumplin’ is essentially the tale of a shallow teenager hell, bent on ruining something which brings her grieving mother a purpose outside of her mundane job and struggling financial situation.
Throw in a love story B plot, with less on-screen chemistry than the leads in 50 Shades, which adds absolutely nothing to the story so much so that you find yourself forgetting about it until the end. The eye-roll inducing realisation that ‘getting the guy’ was what Dumplin’ was building towards rather the self-acceptance and female empowerment it (very briefly) saw in the pageant crowning scene would be annoying if it was not almost immediately followed by (yes, you guessed it) a Dolly Parton musical number which signified the end to an excruciating hour and fifty minutes.
While consistent performances from the likes of Jennifer Aniston and Maddie Baillio redeem the movie in the talent portion of the evening, Dumplin’ will leave you feeling almost relieved that Netflix dished out $100 million on Friends rather than funding projects like this in the future. And even if you are sick of hearing “we were on a break” at least Aniston doesn’t say so with her southern drawl.
Eight years on from Red Dead Redemption (RDR) being released to universal success, Rockstar’s release of Red Dead Redemption 2 (RDR2) is largely viewed as one of the most ambitious gaming productions of our time.
RDR2 is a sprawling Western tale, in which you play as Arthur Morgan, a member of the Dutch Van der Linde gang. Starting from the beginning – it’s 1899 and outlaws in America are becoming a wanted species as the lawless era is starting to be left behind.
Arthur and his gang find themselves on the run from Blackwater after a failed bank robbery means they have to leave everything behind to escape the law.
With a blistering blizzard covering their tracks from the bounty hunters following them, there is enough time for us to slip into the character of Arthur Morgan and get settled in for a whopping 60-hour game-play story.
Red Dead Redemption 2’s sweeping vistas are some of the most captivating in gaming // Rockstar Games
The Map
It’s very difficult to exaggerate just how big this map is, it’s far bigger and more beautiful than the one explored in RDR, with far more side-action with nature involved too. Between the alligator-infested swamps, deep forests and great lakes surrounding the city of Saint Denis, there is plenty of travelling to undergo as you travel through this game.
RDR2 keeps its cards close to its chest, meaning that even after long hours spent playing, you will still be presented with new reasoning to travel to parts of the map you have never seen before, keeping the joy of new discovery apparent throughout.
The in-game experience has the ability to keep each mission fresh despite the massive length of the story mode.
Teaming up with your outlawed brothers will inevitably lead to a shoot-out // Rockstar Games
This comes from how alive each area of the diverse world is, and with loud wildlife and various characters to interact with along the way it is hard to be bored.
The best part about this open world is the feeling that your presence does not seem to matter to the everyday-life of the NPCs. Routine is carried out all around you regardless of your interaction. While lumberjacks cutting down trees may not be crucial to Arthur’s story, it adds to the real feel of the game, making you a passenger instead of the centre of all attention.
The Gameplay
The gameplay throughout is almost flawless, with exception to a few minor bugs when the game was first released.
Missions effortlessly take you through the vast map, introducing you to new friends along the way.
Though Arthur Morgan is labelled as a ruthless outlaw, his quiet moments of humanity allow the player to develop an overwhelming fondness for the protagonist // Rockstar Games
However, you don’t have to partake in the main storyline if that isn’t to your liking. There is a slow-paced nature that is set by Rockstar outside of the missions which allow you to mosey around and do whatever you like.
Around your gang’s camps, you can hear conversations entailing interesting stories about a member’s life, or you may witness a heated bust-up amongst friends over drunken arguments. Either way, it makes for a different gaming experience.
Outside of the gang, there is still lots to see. Newspapers reporting the gang’s exploits can be bought on street-corners, theatres can be visited and you can saddle up and ride to any destination you like. It’s really up to you what Arthur gets up to in his spare time away from the gang.
Dutch van der Linde leads a group of complex and wholly flawed characters through the sprawling Wild West // Rockstar Games
The Good: Red Dead Redemption 2 is perhaps the most ambitious game ever to be released, containing an incredible amount of content in a vast and open world. Each mission is filled with memorable scenes which build up relationships with characters throughout.
The Bad: Very hard to name any. However, one flaw may be the style of the cowboy lifestyle. At times, it can feel like the game is dragging, but that’s about it.
The Verdict: Red Dead Redemption 2 is an incredible achievement by Rockstar in almost every sense of the game.
It’s a shoo-in for one of the best games of this generation, and personally, I feel it is unrivalled. The game is a beautifully aesthetic display of what was an ugly time in America, combined with one of the best story-lines I have ever found myself immersed in.
This is a game of rare, well-rounded quality and is easily the best single-player action packed game I have ever experienced.
For thirty-seven years double Grammy award winners, Slayer, have pioneered extreme music in the relative mainstream, being one of the most successful heavy metal bands of all time. Especially in the early MTV years alongside their contemporaries in Anthrax, Megadeth, and Metallica.
Their long and industrious career, which has spanned twelve studio albums as well as a multitude of alternate media such as comic books, live albums, and more.
These have cemented Slayer’s status among fans of extreme music as not only somewhat progenitors of the art, but also one of the few acts that have remained a mainstay in the industry.
However, that is all about to change once this world tour comes to an end, the tour itself being on its final third leg already.
The supporting acts on this European leg of the tour are Obituary, the aforementioned Anthrax, and Virginian death metalheads, Lamb of God, who each brought their own unique style to the 3Arena last week. As well as both being inspired and inspiring the others, particularly when talking about the coexistence of Anthrax and Slayer as two of the most prominent members of the “Big 4” of thrash metal.
Tom Araya and Gary Holt, the lead men of Slayer take to stage one last time // Instagram @jaraya
Floridians, Obituary (7/10), had the honour of opening the concert, and although it was the shortest of all the sets played on the night, it worked well in hyping the audience up for what was to come. The downside to opening so early was lacking the total number of ticket holders being present as of yet, in addition to the audience taking it easy in anticipation for the bands to come. However, Obituary definitely served as a delicious sampler for the night.
Following Obituary, the New York legends, Anthrax (7.5/10), took to the stage. While there is not much to be said in terms of downsides to the music (on the contrary they were second only to the main act on the night). However, their shortened set list, due to them being a supporting act for a band whose stature could be considered comparable to that of the headliners, did unfortunately not lend well to the impact that they could have easily had. Overall, however, Anthrax were easily one of the highlights to the concert, with an obvious air of respect to equally important godfathers of the craft.
The final openers were the, for some, contentiously named Lamb of God (8.5/10).
The first moment of eruption for the crowd came from two of their most popular songs, ‘Walk With Me in Hell’ and ‘Redneck’.
One could not have asked for a more perfect final curtain before Slayer took the stage, a testament to team Slayer’s own understanding of the art of heavy metal and how to compliment it.
And now, without further ado, the main act. Truly a triumph of their career, and a promising start to the following tour dates to come, Slayer (10/10) played one of the finest setlists of their vigorous and dynamic career. Surprisingly, full to the brim with both bona fide classics and lesser known tracks leading to a genuinely retrospective journey through 35 years of recordings. Opening with the title track from their most recent outing, ‘Repentless’, through ‘Black Magic’ from their very first, and, of course, ‘Raining Blood’, ‘Angel of Death’, ‘South of Heaven’ and ‘Seasons in the Abyss’, any and all fans of the band would find something to whet their palette.
Anthrax supported Slayer on the night, and while they may not have been at their legendary best, they didn’t disappoint // Instagram @katty3n
While stage flags and pyrotechnic inverted crosses made a spectacle of each passing drum beat and riff, as ‘Raining Blood’ began the penultimate stage flag fell revealing a touching tribute to founding member, guitarist, and chief songwriter Jeff Hanneman, who died of liver failure in 2013.
Accompanied with a “thank you for being here tonight’ (with a strong emphasis and inflection on “tonight”), as well as a call for the audience to act like “angry little leprechauns” (this coming with a stereotypical accent), not only Slayer but all bands had an excellent rapport with the audience. With rousing applause from the audience and a final goodbye, Slayer were then gone from Ireland for good.
While there will not be any more concerts in Ireland on the tour, if the chance arises to catch them on one of their other concerts throughout the mainland it is highly recommended to do so. While the price may change slightly depending on where they are, approximately €60 to see four bands in one night is well worth the price. If not to see Slayer, the recommendation strongly extends to the other bands too.
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