About @QuaysRL

Sports feature and match reporter with one eye on sport, the other on the Greater Manchester arts scene.

2019 and the start of (another) new era

I do love a great game of rugby.

Note, I didn’t clarify that statement with either a “league” or “union” caveat. I like watching both codes. I was brought up in Hull by a father who had played union as a Marine, but when he moved to Hull in the late ’60s, his mates took him to Craven Park and he began to watch league, and Hull KR in particular.

Growing up, he happily took me to Craven Park and also sat me down to watch union on TV whenever possible, hence my growing up with an appreciation for both codes.

It’s only been in the last 10 years that I’ve followed league in a semi-professional capacity as a journalist and have also covered a smaller amount of union in that time, the differences in the game have become more apparent off the field than on it.

League has always been the lesser of the two in the eyes of both the public and mainstream media. Just look at the amount of broadcast time given to the Autumn internationals on both terrestrial and satellite broadcasters.

From what I can gather, Sky has no interest in showing international league at all.

The BBC were practically given the rights to England v New Zealand and only showed England games from the 2017 World Cup, meaning that Wales and Scotland’s fans had to shell out an additional £9.99 for Premier Sports if they wanted to follow games live.

Broadcasters are falling over themselves to cover union. BT Sport has been showing three games on a Saturday covering the European cup alongside Channel 4, Channel 5 shows the Gallagher Premiership and the BBC will be showing the 6 nations alongside ITV until 2021.

All of Wales’ home matches will be shown live on the BBC, along with France and Scotland home matches. ITV will screen England, Ireland and Italy home games.

I think Sky have done a great job of standing still where broadcast of league is concerned. Yes, they trialled 3D league, but only gave it 6 or maybe 7 games. To be fair, Sky has all but binned 3D as a broadcast medium for live anything, so to even have had that small amount was something, but there is no longer a “Boots n All” show, and I’ve yet to see an advert for the new season on there.

The problem lies with the game still thinking its small, which, compared to union, it is.

I’m really hopeful that the new structure brought in by Robert Elstone and his team will mean that Super League undergoes a period of controlled growth, with clubs in the Championship and below having the chance to grow organically and that promotion and relegation in the old-fashioned new way of one up and one down.

I’m hopeful that Mr Elstone will at least put the new broadcast rights out to a much wider process than we are led to believe the previous one was.

League is in desperate need of a great season in 2019. We are (again) at the beginning of (another) brave new restructure.

What is needed is a competition where the playoff spots are changing all the way until the final day, as is the relegation spot. A competition where players become superstars outside of their home town, but who can (like Jonathon Davies 30 years ago) make headlines on the front pages for the right reasons in National papers.

Until league can compete with union on the screens of the UK, it will always be second best.

I don’t believe league will ever be as big as union currently is, there is too much of a gap to close in that respect, but I do believe that with the right management in place, and the right people making the off-field deals, we can at least compete when it comes to getting the product on screens in front of viewers and then we can start to get people into stadiums.

If people can’t see what’s on offer, how will they know where to watch?

This season, I should be providing coverage of Rochdale Hornets for Roch Valley Radio

I hope if you can’t be at the ground, you will join me online using the link above


REVIEW: First Man (2018)

Charting the story of Neil Armstrong, Andrew Riley looks at the upcoming release of First Man.

This film could, in the hands of a less capable director, been a saccharine and sanitised affair, as it is, Damien Chazelle gives us a riveting look at the life of the man who will forever be known as the first human being to walk on another celestial body.

At nearly 2 hours 30 minutes, Its worth every second.

Known for his Oscar-winning hit “La La Land” and “Whiplash” Chazelle moves away from his usual musical fare and into territory that most of us would like to think we know about, that of the Apollo 11 moon landing.

This though is much more than the telling of Armstrong. It documents the loss of his daughter, Karen, in 1961 all the way through his selection to the Gemini program, the loss of his friends in the tragedy of Apollo 1 and through to his steps on the moon with Buzz Aldrin.

The script by Josh Singer, and based on the book by James R. Hansen is kept sparse, and the film is all the more compelling a watch for it.

Ryan Gosling plays the titular First Man and Stockport born Claire Foy his wife Janet, with both having to come to terms with the strains that the space race placed on their marriage and family.

The scene when Mission Control shut down the contact between Janet and Gemini 8, and she rushes over to demand they put it back on is an exceptional piece, in which Foy manages to display the entire range of emotion you would expect of a wife whose husband is spinning in space, not knowing if he’ll ever get to see home again.

This plays nicely to the Apollo 11 mission itself when she admonishes him for spending all his time packing and not talking to their sons about the mission and what might happen…

The whole movie shows how close failure was at almost every turn for NASA and its crews.

Chazelle directs this with a deftness that was so needed. A less competent director may well have focused on Apollo and left the family as an aside, but he manages to keep the story moving without resorting to base emotion. By showing how the job affected not only Armstrongs family, but also showing how everyone was affected by losses elsewhere, we get to see the real astronauts and how they looked at each other.

This is so much more than a biopic. Its a look at how the Americans were desperate to catch and overtake the USSR in the early years of the space race, one which although they ultimately won, it’s telling that no one has walked on the surface of the moon since Gene Cernan in 1972.

Overall, this is one hell of a good movie, and it’s worth setting aside the time to watch.


REVIEW; Dave Giles & the ’79 Sound @ Night and Day Cafe, Manchester.

About 10 years or so ago, I asked my daughter what she wanted for her birthday. Her reply? VIP tickets to see Dave Giles at the Cockpit in Leeds. You got to meet up with Dave before the show, have tea, listen to the sound check, get a bag load of signed and exclusive goodies, and then watch the gig.

Being the great dad I am, I duly obliged, and a small part of his fan base grew.

Back then, I was working on a local radio station & managed to grab a chat with the man himself for my show.

Here I am, all these years later, and I’ve just taken her to see Dave and his Nashville backing band, the ’79 Sound, at the Night and Day cafe on Oldham Street for the penultimate night of his new album launch tour, and I have to say, found myself very happily whiling away a few hours, listening to some great music, played by some ass kicking musicians.

The album, Tennessee and 48th, was in part crowdfunded and recorded in Nashville in January of this year. It’s a very accomplished piece of work, and hangs together beautifully.

Hearing it live can sometimes be a different beast altogether.

Dave has either been very lucky, or very wise. His backing band of Nashville musicians plays to each other’s strengths and the whole set simply bounces off the walls and you can’t help but tap your feet.

Dave wrote most of the album before heading off to the USA on what was probably the biggest gamble of his career, and it comes across as a really polished set. The whole idea of this short tour is to get the album out there to audiences who have supported him in the past, as well as hopefully a few new fans who may have heard it on Spotify.

If the finished product is what you can achieve in Nashville with £20k, more power to him!

For the gigs themselves, Dave is supported by Nick Parker and Pete RG, two very different and contrasting acts to Dave’s laid back style. Both acts in their own way doing what opening acts are supposed to do, warm up the crowd for the headliner.

To be fair, Dave Giles knows his audience, in some cases personally, such is the fan base he has built up over the years, and he moves easily through the venue before taking the stage greeting fans as if they are old friends he’s not seen for a while, which for the most part is true, having also done a series of living room gigs for fans up and down the UK.

Dave Giles on stage at the Night & Day Cafe

Dave Giles on stage at the Night & Day Cafe

Once on stage, it’s easy to see why Dave has built up such a loyal following. His easy going style plays perfectly with the mixture of people in his audience, and there is soon a decent crowd around the front of the stage happily moving to the new album, most of whom already seem to know each new track by heart.

Its great to see an act who is not only in touch with his fans, but so approachable both before and after the gig.

Sadly, this was the penultimate night of the tour, but rest assured, as soon as he announces another gig in the North West, get on to the tickets as quick as you can, because although he has a “pay what you feel like” policy (‘…and if you feel you’ve paid too much, come and see me, I’ll refund you.’) his gigs are always pretty much sold out well in advance of the night.

Dave also has a very interesting merchandise stall (run by no other than his Dad!) which includes the usual T-shirts and hoodies to different teas and mugs. All available on line as well as at the shows.

Easily a 5* show from beginning to end.


REVIEW: Strangeways, Here We Come

Here we have a movie that has been roundly panned by the (mainly) London bubble of reviewers. Indeed, the Guardian gave it just one *.

Lets have a proper look…

OK, I’ll freely admit, this movie isn’t going to bother any award ceremonies, but if it had been set in Hoxton, Brixton or any of the London “sink” estates, then the plaudits would be gushing, but outside of the London media darling bubble, the film is being enjoyed by pretty much everyone who goes to see it.

It’s a good laugh. What more do you want from 90 minutes of movie?

Its written to please an audience, not reviewers. I’ve lived in Salford, as well as on council estates across the North, and can testify that there isn’t a single character in this film that couldn’t be found on any estate, anywhere in the North of England.

Writer Chris Green knows his audience, and knows the area that the film is set. So complaining that they are caricatures in “implausible situations”  tells me that the writer has never set foot, never mind lived, on such an estate.

I enjoyed this, and so did the rest of the audience at Salford Arts theatre, where this film ended its run tonight with two showings.

As I say, it wont be winning any Oscars, but it is what it is, a bit of fun, set on an estate where people deal drugs, loan sharks are bas***ds who deserve a good kicking and people take drugs at weekend parties to escape the mundane boring life that Austerity Britain has become.

If you cant go into see this (or any piece of art) with an open mind, don’t bother, but I assure you that if you do, you will have a laugh.

It wont be a belly laugh for the full 90 minutes, but you will smirk, laugh out loud at times and leave with a smile plastered across your face.

If you want gritty, indy art house, look elsewhere. This film is aimed at the working class it portrays, maybe larger than life, but then, how else are they supposed to be played?

Ignore the mainstream media critics. What do they actually know about life on a council estate?

More than likely nothing, or if they did, they’ve long ago moved into middle class mediocrity and are denying their past…



Andrew Riley interviews…Episode one

The first in a series of informal interviews with local artists sees Andrew at Salford Arts Theatre to chat to Scott T. Berry.