Grant Favours offers us not only genius song-writing and lyricism, but also a fun, simple, and pointed commentary on the trials and tribulations of ‘softboys’, lockdown Tinder, and the Tories: all in all, a short and sweet 15-minute escape from your worries.

In his first number, ‘Man vs Machine’, poor Grant Favours unfortunately appears to do quite the opposite of his name, ending up being forced to indulge in a little ‘love-honey’ discount to keep his girlfriend happy. Who knew that the endemic problem of men being bad at head could become such a catchy ukulele song?

Although every single one of his songs could be dissected and analysed as to why they are just so memorable, I neither have the space nor the music skills to do so. As such, attention must be pointed to his two best numbers, which close off the show.

“Who knew that the endemic problem of men being bad at head could become such a catchy ukulele song?”

The Tories have been a source of endless bewilderment over the entirety of this pandemic and beyond. The song ‘Lie to You’ perfectly sums up the last year of political mess-ups, and once again, Favours does it in a way that makes you want to sing along, rather than release a massive stress-scream at the situation. The song leans on the idea that politicians do not lie, and wheels out all the promises that have been broken.

The major jolly chords lull us into a strange sense of comfort. As we reach the climax and Favours uncovers politicians’ lies, the tempo and words speed up as if trying to cover up these facts. His direct stare into the camera and expressionless face as he closes the song and repeats that changed refrain to ‘I will always lie to you’, is funny, pure and simple. What is clear from this, is that simplicity is Favours’ talent.

Working with split screens in his last song, Favours shows an interesting and innovative way to make the most of the drawbacks of online shows. How successfully Favours makes his online and real personalities play off of each other shows the potential he holds for performances and writing including multiple actors. As a standout point for the show, it might hint that Favours is more at ease in this setting, rather than alone in the spotlight.

“...at moments, the audience is left to wonder whether certain gestures are characterisation, or awkwardness and fear leaking into the performance”

A show-from-home, during lockdown, brings layers of difficulties and new challenges that do not exist when in a theatre, including when it comes to decor. Nonetheless, Favours does a great job at bringing us right into the bedroom of the try-to-be softboy, with a single floral tapestry hanging in the background.

His wardrobe, consisting of florals and beanies, is similarly well-chosen, if bordering on too subtle. Favours crafts the aesthetic most of us know all too well from endless lockdown Tinder swiping.

But herein lies the problem; much of what Favours does is understated to a fault. With the lack of an audience presenting a stumbling block, and the missing atmosphere of bustling theatre, it is understandable that performances do not feel quite the same. But, with that in mind, some of the show still felt lacking, as if these obstacles had not been surpassed.

It is not to say that Favours has to fall into the category of drag that leans into the overstated and flashy, because there is definitely a place for this character. Yet, at moments, the audience is left to wonder whether certain gestures are characterisation, or awkwardness and fear leaking into the performance. This is especially apparent in the live clips which linked Favours’ songs, and often glances are exchanged between him and the side of his room, as if the webcam was just too daunting.

His potential becomes clear in his final bit, in which he asks those who last sent him a Queerbridge to get in touch. The comment feels off the cuff, it is not overworked and flows perfectly into the character we have had only a short time to come to know. It shows what could be achieved if the comedic timing hit the mark every time.