Category: Live Reports (Page 1 of 36)

KALEIDA Live at Hackney Oslo

Coinciding with the release of their third album ‘In Arms’, KALEIDA gave a superb performance at Hackney Oslo in London ahead of a European and North American tour.

Fans attended from Scotland, Norway and Eastern European and it was vindication for KALEIDA of their artistic perseverance having considered disbanding under the pressures of parenting and the shifting patterns of both Christina Wood and Cicely Goulder as they made their long distance creative partnership work again as KALEIDA.

To that end, this run of live dates features only Wood augmented by drummer Verona Rose, with Goulder on maternity leave having only recently given birth to a new son. Opening with the glorious ‘Stranger’, this highlight from ‘In Arms’ sprung a surprise with its electro dance rhythms. In live form, the drums were not overbearing or ill-fitting as with some electronic based acts, complimenting as percussive colours with power when required.

But what was striking was Christina Wood’s great impassioned vocals and willingness to move around the stage in elegant mime gestures, as if compensating for the absence of her creative partner. However Goulder was there in spirit through her productions on the backing tracks and observing from afar in support of her band mate.

KALEIDA’s new album is their most varied yet as the house-inflected ‘Hollow’ and folky ‘Don´t Turn Me Out’ showcased, although it must be pointed out though that many of the audience were hearing this new material for the first time at this show and credit must be paid to them for embracing these songs so enthusiastically. ‘Seagull Nun’ was the first song that Wood and Cicely Goulder wrote as KALEIDA back before 2015’s debut ‘Think’ EP was released and its gothic drama mesmerised under a sea of haunting vocals and mantric rumbles.

Despite the haunting disposition of the majority of KALEIDA’s material, Christina Wood’s sense of enjoyment and openness to interact saw her announce to the audience that she would like a shot of tequila with several obliging a song or two later.

Christina Wood displayed KALEIDA’s Hollywood pedigree first with a stark heartfelt rendition of ‘99 Luftballons’ from the 2017 Charlize Theron spy drama ‘Atomic Blonde’ which put the ant-war lyrics centre stage in an all-too relevant world situation. Towards the show’s climax came ‘Think’ from the 2014 Keanu Reeves action thriller ‘John Wick’ which grabbed the biggest cheers but also sounded as fresh as it did a decade ago and even prompted a chorus singalong.

Another that had a chorus singalong was an “android soul” cover of Al Green’s ‘Take Me To The River’ from the ‘Think’ EP while Wood felt so flattered by all the positive vibes from all those present that she jumped off the stage and danced with several members of the audience.

With the deep overtones of ‘Tropea’ forming the encore, it was the culmination of which was possibly the friendliest gig ELECTRICITYCLUB.CO.UK has ever been to in 44 years of gig going. The audience were all looking out for each other, letting people return to their spots after comfort breaks etc and helping take each other take photos when Christina Wood and Cicely Goulder were obliging with a friendly aftershow meet-and-greet at the merch stall.

“This project is truly a labor of love. But in the end making music means more to us, and so we got back to it. We’ll never stop” said KALEIDA to ELECTRICITYCLUB.CO.UK in their recent interview and every single person in Hackney Oslo was certainly very happy about that.

With thanks to Alix Wenmouth at Wasted Youth Music

‘In Arms’ is released by Embassy One in blue vinyl LP, black vinyl LP, CD and digital formats via

KALEIDA 2024 live dates include:

Berlin LARK (28 March), Hamburg Hääkken (29 March), Warsaw Chmury (30 March), Seattle High Dive (11 April), Los Angeles The Echo (12 April), San Francisco Brick & Mortar Music Hall (13 April), Brooklyn Elsewhere (20 April), Montreal Bar Le Ritz PDB (21 April), Lörrach Stimmen Festival (12 July), Tallinn Vonge Festival (13 July)

Text and Photos by Chi Ming Lai
28 March 2024


The queue outside to get a good spot to see Los Angeles band CANNONS play London’s Heaven stretched to almost the entire length of Villiers Street.

Formed in 2013, the trio comprising of Michelle Joy (vocals), Ryan Clapham (guitar) and Paul Davis (keyboards + bass) released their first EP ‘Up All Night’ in 2014. They have been on an upward trajectory since the release of their 2017 debut album ‘Night Drive’. Indeed, the Heaven gig was a consequence of an upgrade from Lafayette in Kings Cross due to public demand.

While CANNONS might have started off sounding a bit like NO DOUBT meeting STEELY DAN, subsequent albums ‘Shadows’ and ‘Fever Dream’ reinforced the more pop indiewave aesthetic like CHROMATICS but with a sunnier disposition. In support of their new long player ‘Heartbeat Highway’, CANNONS’ impressive recent run of sold out headlining shows have included a European sojourn. For these dates, support came from NINA & RADIO WOLF.

Known as “The Queen Of Synthwave”, this was NINA’s welcome return to the London stage after 5 years. Meanwhile for RADIO WOLF aka Oliver Blair, this was his first London appearance since 2018 when he was a de facto member of PARALLELS. However, the Canadian guitarist and producer could be seen as something of a London scene veteran having been in HOTEL MOTEL, a band which also featured Italians Do It Better artist Jorja Chalmers in its line-up.

When NINA & RADIO WOLF took to the stage to a packed venue, the first striking observation was the new raunchier thigh length booted presence of NINA. Alongside her leather jacketed partner, there was a sound to match as showcased from the start with ‘Tokyo Cowboy’. While guitar was a dominant component over the synthwave of her previous work, gritty pulsing electronics formed the backdrop to suit the more sinister mood exemplified by titles such as ‘Psychotic’ which was possessed by a guitar riff not far off DEPECHE MODE’s ‘I Feel You’.

NINA & RADIO WOLF gave space for their recently issued two singles ‘My Dark’ and ‘Bluesbreaker’, the former being a wide ranging accessible slice of darkwave while the latter pulled the surprise of harmonica. Open to other influences such as the frantic machine rhythms of early COCTEAU TWINS single ‘Peppermint Pig’ on ‘To See You’, NINA & RADIO WOLF have cultivated a distinct sound that proved to be a perfect warm up for the headline act.

Live, CANNONS are augmented by drummer Ben Hilzinger and while they are very a tight band that specialises in what they call “future boogie”, Michelle Joy was the visual focus and cheer leader for audience interaction. With a dreamy sexy voice that can be compared to Gwen Stefani,  Susanna Hoffs and Ruth Radelet, she also has an engaging personality that enhances her appeal.

Opening with the ‘Heartbeat Highway’ title song, it was a pointer to the less synth layered sound of the new album compared with its predecessor ‘Fever Dream’; but from the latter, ‘Bad Dream’ displayed the synthier platitudes that helped CANNONS achieve that wider breakthrough. Back to the new record, ‘Loving You’ brought whistles and a groove while not a cover, ‘Talk Talk’ from ‘Shadows’ took the pace down as ‘Can You Feel My Heart’ entered into Hall & Oates blue eyed soul territory.

The pairing of ‘Hurricane’ and the glorious ‘Ruthless’, both from ‘Fever Dream’, was perfect with the latter coming with a massed beckoned “F*CK YOU” to round off the catchy choruses. Meanwhile, ‘Come Alive’ recalled another CHROMATICS influenced act R.MISSING in its enigmatic allure.

The optimistic electronic pop of ‘Crush’ returned the focus to ‘Heartbeat Highway’ but revisiting ‘Fever Dream’ again, ‘Purple Sun’ played with synth reggae before the main section of the set closed with ‘Fire for You’ which featured in a 2020 episode of the Netflix comedy-drama series ‘Never Have I Ever’ and boosted CANNONS’ international profile.

Following the encore of the breezy ‘Desire’ from ‘Heartbeat Highway’ and 2015 standalone single ‘Evening Star’, CANNONS left behind many smiling faces. Like with NATION OF LANGUAGE, there are signs of a similar trajectory as they too went from Lafayette to Heaven previously. With the enthusiastic reception at this show, there is no doubt that when CANNONS return to the UK, it will not just be at a bigger venue in London but part of a whole tour.

CANNONS new album ‘Heartbeat Highway’ is out now as a vinyl LP under exclusive license to Columbia Records

NINA & RADIO WOLF ‘My Dark’ + ‘Bluesbreaker’ are available on the usual online platforms

Text and Photos by Chi Ming Lai
25 March 2024


Founded in 1984, The Strongroom is a music community hub in London’s Shoreditch comprising of studios, rehearsal spaces and bars.

It was the location hosting for a special book reading event with Robert Görl reading from his memoir ‘The Voice That Dwells Within’ with his co-author Hanna Rollmann, although this remained oblivious to the polite security lady when asked about where the room was within the complex. Musical luminaries in attendance included Sarah Blackwood, Jonathan Barnbrook, Anıl Aykan and James Knights.

Robert Görl, together with the late Gabi Delgado, formed DEUTSCH AMERIKANISCHE FREUNDSCHAFT after meeting at the iconic Düsseldorf punk club Ratinger Hof; the pair pioneered what became known as Electronic Body Music, influencing a whole generation of bands including FRONT 242 and NITZER EBB.

Although originally a five piece band that also included at various points Kurt Dahlke, Michael Kemner, Wolfgang Spelmans and Chrislo Haas, the classic DAF duo incarnation of Görl and Delgado become reality thanks to the advent of affordable synth and sequencer technology from Japan. Armed with Korg’s MS-20 patchable semi-modular monophonic synth and SQ-10 three channel 12 step CV / Gate control sequencer alongside Görl’s powerful drums and Delgado’s provocative snarl, the combination provided a unique barrage of sound without the use of guitars.

DAF’s ‘Die Kleinen Und Die Bösen’ in 1980 was the first album released on Mute Records and the duo would go on to issue a trilogy of acclaimed albums ‘Alles Ist Gut’, ‘Gold Und Liebe’ and ‘Für Immer’ on Virgin Records all produced by the legendary Conny Plank. DAF then spilt for the first time in 1983. Görl returned to Mute Records and recorded the cult hit ‘Mit Dir’ ahead of his debut solo album ‘Night Full of Tension’ in 1984. He would reunite with Delgado in 1986 for their only album in English, the disco-oriented ‘1st Step to Heaven’ but DAF would become an on-off affair until Delgado’s untimely passing in 2020.

‘The Voice That Dwells Within’ begins in 1989 when Görl was involved in a serious car accident near Munich on a very cold night. His body is literally in pieces but as he slowly recovers and learns to move again, he has time to reflect on his life and future motivations…

The publication of the authorised ‘Das Ist DAF’ book in 2017 meant that Görl’s own autobiography was temporarily interrupted. But interest returned with Dr Hanna Rollmann, whose PhD thesis discussed “existence and transcendence” in the work of Søren Kierkegaard and Franz Kafka, entering the fray to help make sense of all his little paper pieces before interviewing her subject to complete the book.

Robert Görl and Hanna Rollmann make a wonderful partnership, with the glamorous academic acting as moderator to the esteemed musical pioneer, steering the interview about his career, giving prompts to the readings and providing the voice to the dream sequences of the book.

Despite the heavy atmosphere during some parts of ‘The Voice That Dwells Within’ reading, there were lighter moments too as Görl remembered his departed DAF brother Gabi Delgado. Although DAF emerged from the German punk scene, Delgado hated guitars and dismissed other bands reliance on them which he considered to be creative nothing more than old fashioned rock ‘n’ roll. There was also a recollection of Delgado appearing in one of his dreams as Elvis complete with iconic quiff!

On his return to the reunified Germany from his Buddhist studies in 1992, it was the once-divided city of Berlin that Görl chose to make his new home, thanks to the emergence of the now famous Love Parade as a symbol of freedom, inclusion, tolerance and acceptance. To conclude the book reading event, Robert Görl gave an intimate performance of two DAF songs ‘Der Räuber Und Der Prinz’ and ‘Verlier Nicht Den Kopf’ before a touching emotive rendition of his brilliant first solo single and signature tune ‘Mit Dir’.

‘The Voice That Dwells Within’ is not a standard chronological autobiography. Through its story of Görl’s recovery, it takes an almost surreal impressionistic approach, coming over like a journal, as personal details and reminiscences pop up at unexpected moments.

One of those recollections comes when prior to their 1984 collaboration ‘Darling Don’t Leave Me’, Annie Lennox recommends that our hero takes singing lessons with her vocal coach Tona De Brett whose other clients ranged from Elizabeth Fraser, Rick Astley and Paul Young to Edwyn Collins, Ari Up and John Lydon! Being made to repeat the phrase “red lorry, yellow lorry” for over an hour while practising octave changes and observing the vowel shapes in his mouth proves to be liberating. But it also provokes amusement that other less likely characters may have had to do the same thing…

The ultimate lesson from Robert Görl’s life story is that contentment and well-being is not from fame and fortune but from a wider sense of acceptance and salvation.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Robert Görl, Hanna Rollmann and Simon Helm of Cold War Night Life

‘The Voice That Dwells Within’ / ‘Das Versteck Der Stimme’ by Robert Görl and Hanna Rollmann is published in English and German as a double-sided hardback book by Hirnkost KG, available from Amazon UK

Text and Photos by Chi Ming Lai
7 February 2024

MIDGE URE + INDIA ELECTRIC CO Live at Cambridge Corn Exchange

With the success of his ‘1980’ tour celebrating ULTRAVOX’s ‘Vienna’ album and his work as a member of VISAGE, Scottish music veteran Midge Ure finally got his long awaited ‘Voice & Visions’ adventure on the road.

Delayed in the wake of the worldwide pandemic, the second leg of the tour which had originally been arranged as the first part has been playing to appreciative crowds at packed theatres throughout the UK. Midge Ure will be 70 this coming October but he has shown no sign of wavering with his voice remaining intact, save a few very high notes which are discreetly worked around. Meanwhile, he continues to play guitar and keyboards with an enthusiasm that is obvious for all to see.

The concept of the ‘Voice & Visions’ tour was to air material from ULTRAVOX’s second and third Ure-era long players ‘Rage In Eden’ and ‘Quartet’; the former was the product of three months spent in the isolated countryside studio of German legend Conny Plank near Cologne, while the latter was a comparatively brighter affair with THE BEATLES producer George Martin at the helm which included a mixing sojourn in sunny Monserrat. These two very different approaches netted six Top 20 single in the UK. “This is the logical and emotional follow up to the 1980 tour” Ure said.

After a number of years performing acoustically and solo, Midge Ure introduced his Band Electronica concept in 2017 to perform full-fat renditions of the key milestones of his glorious musical career, some for the first time since the classic ULTRAVOX line-up reunion with Chris Cross, Warren Cann and Billy Currie that thrilled fans between 2009 to 2013. The format also provided another opportunity to hear some of best electronic pop of the Synth Britannia era in a live context.

With the live band comprising of long standing drummer Russell Field and the talented multi-instrument duo of Cole Stacey on bass, keyboards + guitar and Joseph O’Keefe on keyboards + violin, it was this trio who opened proceedings with a selection of songs that the two youngsters have recorded as INDIA ELECTRIC CO.

Presenting a modern take on traditionally-derived music forms, songs such as ‘Only Waiting’ and ‘Heimat’ showcased Stacey’s earnest vocal style and O’Keefe’s emotive violin playing with Field providing a variety of acoustic percussive colours. An enjoyable cover of Bruce Springsteen ‘I’m On Fire’ sprung a surprise with Stacey using mini-keys and Field taking to penny whistle while O’Keefe displayed another string to his bow with some six string dexterity.

The elegant ‘Parachutes’ had touches of folk and Americana while at the other end of the scale, ‘Lost in Translation’ saw synths and electronic arpeggios brought into the spritely equation. To close the INDIA ELECTRIC CO support set, ‘Statues’ brought mandolin loops, funk, jazz, classical and synth into an unusual but engaging hybrid of styles.

With an impressive 20 minute turnover time, Stacey, O’Keefe and Field returned to the stage to set the scene for Midge Ure’s arrival. Taking full advantage of their presence, the ULTRAVOX Mk2 front man launched into impassioned rendition of ‘Dear God’; the song he premiered at Wembley Stadium for the Nelson Mandela 70th Birthday Tribute concert in 1988, its call for peace and unity was particularly poignant in relation to current world events.

Maintaining momentum, the rousing ‘If I Was’ was a reminder of his 1985 solo UK No1 single while the evergreen ‘Fade to Grey’ was another of his No1s, albeit in West Germany where the VISAGE song became the Bundesrepublik’s biggest selling single of 1981.

Ure’s solo career actually began in 1982 with a cover of Tom Rush’s ‘No Regrets’; originally an acoustic number by its author, it was a comeback hit for THE WALKER BROTHERS in 1976. While just simply a great song, his cover of a cover still possesses an icy resonance to compliment the bittersweet lyrics.

However, the audience at Cambridge Corn Exchange were there to hear ULTRAVOX songs and Ure duly delivered. There were the hits ‘The Voice’, ‘The Thin Wall’ and ‘Reap the Wild Wind’ but there was also ‘We Came to Dance’ which had not included in any of the 21st Century ULTRAVOX reunion shows. But many were there for the album highlights from ‘Rage In Eden’ and ‘Quartet’; ‘We Stand Alone’ was enhanced by Joseph O’Keefe’s chilling synth stabs while ‘I Remember (Death in the Afternoon)’ saw a THIN LIZZY style of twin guitar interplay between Ure and Stacey.

‘Your Name (Has Slipped My Mind Again)’ recalled the claustrophobic intensity of the ‘Rage In Eden’ album while on the atmospheric title song, Cole Stacey impressively nailed the Middle Eastern toned “noonretfa eht ni htaed… rebmemer i ho” phonetics of its haunting chorus. From the ‘Quartet’ album, the synth rock of ‘Mine For Life’ made its return since that particular tour which was preserved on the ‘Monument’ live artefacts.

Meanwhile the more frenetic ‘Serenade’ was another welcome inclusion as a song that had never been performed live until this ‘Voice & Visions’ tour. Finishing the main part of the set with ‘Hymn’ and ‘Visions in Blue’, the end of show crescendo may have been better served if the order of those two songs had been the other way around.

For the four song encore, there was the unexpected inclusion of the mighty electro-prog instrumental ‘Astradyne’ and of course ‘Vienna’ with duel ivories from O’Keefe and Stacey to provide a continuous piano passage that, due to physical practicalities, would have to be interrupted during ULTRAVOX renditions of “The Greatest No2 of All Time” as voted by BBC Radio2 listeners.

Concluding the evening with ‘Dancing With Tears in My Eyes’ and ‘All Stood Still’, this pair of cheerful ditties about Mutually Assured Destruction reflected the Cold War paranoia during which they were created in; as with ‘Dear God’ at the beginning of the set, that angst has scarily returned to today’s uncertain world. Critics used to consider ULTRAVOX pretentious and pompous but they offered intelligent and thoughtful real life observations and concerns.

A triumph all around, the ‘Voice & Visions’ show was complimented by a straightforward but very effective light show and crystal clear sound. This revisiting of Midge Ure’s back catalogue has got potential to run even further and ELECTRICITYCLUB.CO.UK has its fingers crossed for a ‘Lament’ to ‘The Gift’ 1984-1985 based tour in the not too distant future 😉

And for those waiting for the DEPECHE MODE dig, to the idiotic Devotee who said that Martin Gore was a better guitarist than Midge Ure… err, no! 🤣

With thanks to Cole Stacey

ULTRAVOX ‘Rage In Eden’ + ‘Quartet’ are available via Chrysalis Records as deluxe boxed sets

Midge Ure 2023 festival appearances include:

Middlesbrough Let’s Rock the North East (10 June), Let’s Rock Leeds (17 June), Let’s Rock Scotland (24 June), Let’s Rock Exeter (1 July), Let’s Rock Shrewsbury (15 July), Forever Young 2023 (16 July), Rewind Scotland (23 July), Wickham Festival 2023 (6 August), Chepstow Castle (18 August), Let’s Rock Norwich (19 August), Oostende W-Festival 2023 (25 August)

INDIA ELECTRIC CO will be touring later in 2023, dates include:

Deepdale Festival (24 September), Manchester Band On The Wall (17 October), Glasgow Glad Cafe CIC (18 October), Cambridge Junction 2 (24 October), London Kings Place (25 October), Aylesbury Waterside Theatre (26 October), Totnes Barrel House (27 October), Lyme Regis Marine Theatre (28 October)

Text and Photos by Chi Ming Lai
31 May 2023


With DESIRE, GLÜME and CLUB INT’L having done their bit for Italians Do It Better at Fabric a few days earlier, it was the turn of MOTHERMARY, LOVE OBJECT and JOON for a second label showcase at the trendy Laylow in London’s Notting Hill.

A four floor establishment with a restaurant frequented by the likes of George Clooney, Kate Moss and David Beckham plus a basement music venue, a mortgage was required for a couple of drinks at Laylow.

But the financial pain was soothed almost immediately by DESIRE front woman Megan Louise on the decks playing Giorgio Moroder’s ‘Chase’. Throughout the evening, the Italians Do It Better President provided an enjoyable soundtrack of Italo disco, electroclash, techno and French New Wave between acts that was discerning and hip but not too cool for school, a lesson that could be learnt by other DJs.

Almost a homecoming having studied music technology in London, Maltese producer Yasmin Kuymizakis gave her first gig in the capital as her alter-ego JOON. Appropriately opening with the brilliant ‘Good Times’, Kuymizakis left her workstation to join the audience for an impromptu sing-song.

Her optimism and joy set the tone for a performance featuring a number of songs from her debut album ‘Dream Again’. The blippy pop of ‘ET’ came complete vintage horror film Theremin tones yet had people dancing while despite playing with drones, the quirky instrumental ‘I.You’ provoked a few smiles. The final song of the set was the huskily voiced ‘Worse Things’ which had been due to appear on ‘Dream Again’. But it had now been reworked from its ‘Just Can’t Get Enough’ origins into something more clubtastic.

So well received was JOON’s performance that the audience demanded not one but two encores. Kuymizakis obliged with a pair of works-in-progress of which, the first was very promising despite having sections that had not yet been completely worked out.

Russian duo LOVE OBJECT first appeared on the Italians Do It Better compilation ‘After Dark 3’ and came out with their debut album ‘New Flesh’ on the label at the end of 2021. Comprising of singer Dasha Utochka and producer Danya Mu, an erotic overtone lingers over LOVE OBJECT, perhaps not surprising as Utochka co-founded ‘Areola’, a publication whose mission statement is “To help people become more liberated and freethinking!”.

LOVE OBJECT’s ethos is to challenge control so their stark neo-industrial was fitting. After opening with a cover of Madonna’s ‘Frozen’, Utochka’s vocals were delivered mostly in her native language. The doom laden hip-hop of ‘Virus’ was on point with its apocalyptic rap of truths while ‘Object Of Desire’ included a short narrative from Mu before Utochka took over like Miss Kittin reciting Cyrillic script. Closing with their best song ‘Transparent Woman’, this speedy slice of tech-pop made the most of its percolating percussive metallics.

Inspired by the Prayer of the Blessed Virgin, the striking MOTHERMARY are like real-life ‘Twin Peaks’ characters, the backstory being that twins Elyse and Larena Winn escaped their strict Mormon family upbringing in remote Montana and uprooted to Brooklyn. “Women can be mothers and nurturing and caring and smart, and we also get to have f***ing sex drives” MOTHERMARY said in the press release for their debut album ‘I Am Your God’ released at the start of 2022.

Religious imagery is a recurring theme in the Winn’s sexually charged music as they channel their collective repression to confront patriarchy. Taking to the stage from the audience in red veils to the ominous tones of ‘Devils’, MOTHERMARY formally began their London premiere with the bubbling electro R’n’B of ‘Give It Up’. Removing their veils to reveal black leather coats, ‘Pray’ made references to a “sacrificial offering” over an acid house squelch, while the twins declared “We’ll pray for you…”

Photo by Belle Piec

Disrobing to latex basques and thigh length boots for the Schaffel driven ‘Catch Fire’, MOTHERMARY toasted themselves as “the cult to end all cults”. No stranger to the songs of Madonna Louise Ciccone having covered ‘Like A Prayer’ on ‘I Am Your God’, their live version of ‘Like A Virgin’ illustrated more vividly, the haunting anguish and subsequent emotional rebirth behind the Tom Kelly / Billy Steinberg composition. Meanwhile ‘Coming For You’ provided a sinister stalker-like statement of devotion, before the set culminated in ‘Burn With Desire’ and a performance of ‘Like A Prayer’ itself.

It was another enjoyable evening of music, where each artist had their own considered style of presentation. Assorted emotions were conveyed across varied interpretations of electronic pop and held together by the brand identity of Italians Do It Better. Avoiding the “see if it sticks” approach of other independent labels, there was a distinct curated quality behind it all.

Special thanks to Frankie Davison at Stereo Sanctity

Information on Italians Do It Better releases can be found at


Text by Chi Ming Lai with thanks to Belle Piec
Photos by Chi Ming Lai except where credited
16th November 2022

« Older posts