Seal Exclusive FAULT Magazine Issue 27 Menswear Covershoot Preview


“These are people who succeed.”

Seal FAULT Magazine cover

Photography: Dvora | Menswear Editor: Kristine Kilty | Grooming: Evan Huang | Fashion Assistant: Lily Davies | Fashion Assistant: Hannah Sheridan |

Shot on location at Blacks Club, 67 Dean St

Words: Miles Holder


With a career nearing its thirty-year milestone, Seal is one of the few British artists to reach a universally agreed upon “legend” status. Never one to compromise on his artistry, style and unique God-given vocal talents; with four Grammy awards to his name, over thirty million records sold worldwide and releasing a brand new album entitled ‘Standards‘, we sat down with Seal to discuss just what it takes to carve out a career as prestigious as his.


Let’s take it back to the Seal of the early 90’s, for you, what has been your greatest area of growth?

The most significant change would be my understanding of the point of performance from the perspective of the audience. Performance is about communication, and I don’t mean that as simple question and answer, but where you and your audience share dialogue on different levels. I now understand my audience appreciate that they are as much a part of the production and experience as I am. I would like to think I’ve made a much more significant point about communicating and engaging with my listeners when I’m on stage.



Seal FAULT Magazine cover


What’s been your hardest personal FAULT and hurdle to overcome?

Fear. Fear in all of its other forms, its hurtful and deceitful forms. The most significant hurdle for me is very much the same thing. I find myself drifting too far from the moment, and when you’re a performer, that’s not healthy.


Why did you think now was the best time to release a standards album?

I always toyed with the idea of a standards record, and ultimately I love the songs as opposed to them merely being “standards”. They’re written in a time which is all focused on the voice, a time where singers sang, and dancers danced.


You’ve said that Smile is now your favourite song and it seems the people who love the song that’s it’s therapeutic, a reminder to themselves to smile through their underlying pain, is that the same for you?

I can’t listen to ‘Smile’ without tearing up. I like it because it doesn’t matter who you, what age, your culture, gender or outlook on life, the sentiment will relate to you. At some point in your life, we have all gone through an experience where you’ve had to force a smile through a situation. Smiling even though your heart is aching and all you want to do at that point is break down in tears, and you’ve got to smile through it. I find it the happiest and saddest song for me on a personal level. I feel the song, and now in my life, I feel the song resonates more than ever before.

We are living in a very turbulent time and hearing a song like ‘Smile’; it just holds a message that I most want to communicate. It’s chaotic, and it’s turbulent, but for me, the critical thing is to find balance and always remember to smile.


What is your FAULT?

Relationships. They’re hard for me, but I’m learning. And that goes for relationships of all kinds. Even with my children, when I’m trying to get through to one of then, and my method is not working, I’m learning that sometimes the best solution is to try something new as opposed to keeping to the same old routine.




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Liam Gallagher – Exclusive FAULT Magazine Issue 27 Covershoot and Interview Preview


Liam Gallagher

As you were. As you are.


Words: Adina Ilie

Photography: Jack Alexander

Menswear Editor: Kristine Kilty

Grooming: Natalya Chew


FAULT Magazine is proud to present our Issue 27 cover story with non-other than Liam Gallagher. With a career spanning over 25 years and a myriad of stories to tell, we sat down to discuss the ups and downs of his career and get to know Liam Gallagher as he was and as he is. Enjoy.


FAULT: Do you recall the first 24 hours after Noel quit the band? What was going through your mind at that point?

Liam Gallagher: Oh fuck. That very moment I just went– right, there have been certain powers at play. It wasn’t too big an argument; we’ve had worse arguments. What went down was something that was pre-planned.


FAULT: What was the lead up to that point that makes you so sure that it was pre-planned?

Liam Gallagher: Lots of things. A lot of sneaky little meetings. People might say that it’s paranoia. But you can never be too paranoid in life. I kind of knew he was going to map it at some point. It was going to happen at V or it was going to happen at Reading. It only got postponed until Paris. I knew he was going to jump ship at some point. And that’s what made me feel that my paranoia was right. Or maybe I’m clairvoyant; I’ve got 6 senses.


FAULT: Did you feel Noel’s absence while writing this record?

Liam Gallagher: Yeah – because I don’t want to be solo. I don’t want to do it on my own. I’m not a guitar player or a prolific songwriter. I can write a few songs every now and again but I miss being in a band. I miss my brother the way he was back then. I miss singing those great songs that we all made great.


FAULT: Were you disappointed that your former bandmates did not reach out to you in times of crisis? Are you resentful in any way?

Liam Gallagher: My older brother has always been there. I thought I’d at least get a call from Noel, but there was no call. I thought I’d get a call from my other manager, but nothing from them fucking cunts. But then I met Debbie and she’s been there all the way. A lot of my mates are gone; I don’t really have anyone in London and that is fine. The universe is my mate.


Liam Gallagher: I’ve been through a lot of shit, but it was shit that I caused. When you cause shit – you man up and fucking deal with it. Sometimes you have to fucking man up to your shit.




FAULT: Did you ever feel that you were done? That you hit your peak in ’96 in Knebworth and then it was all downhill from there? 

Liam Gallagher: I feel like I’ve maintained it without turning into the traps of the business. I’m still outspoken, I’m still wearing my heart on my sleeve and if people like it that’s fine. If you don’t then you don’t. I’m not a ‘yes man’.


FAULT: Did you ever see yourself hitting the top once more by yourself?

Liam Gallagher: The night Oasis split I felt absolutely disappointed and then I felt exactly the opposite when my album went number 1. In this day and age, rock’n’roll has got cobwebs on it. I never actually saw myself hitting the top once more. But if you truly believe, things will happen. I’ve been good to rock’n’roll and I reckon rock’n’roll will be good to me. It saved me twice.


FAULT: Hollywood is ablaze with accusations of sexual assault against Harvey Weinstein. Have you seen similar occurrences in the music industry? 

Liam Gallagher: : Not really, but you know it’s there. The shady little fuckers at the top. It’s not even with just men and women, it’s men and men too. All these pop bands – you hear about it with Take That but I’ve never witnessed any of it. Nobody would come near us. We were caught up in our own bubble. We weren’t hanging about with the record company. We’d go to the awards show and they’d be there, but we’d just get off and do our own thing. And I certainly didn’t see any weird shit.


FAULT: What changes do you reckon we should make to keep things safe for both men and women alike?

Liam Gallagher: That’s a big tough question. Obviously get rid of all the shit bags. Obviously, if everyone took care of their shit – everything would be cool. We all live together under one sky at the end of the day. Everyone just needs to cool the fuck out.


FAULT: Do you think Liam Gallagher has the power to get people to go back to the roots of rock’n’roll?

Liam Gallagher: I’ve got a lot of fans out there and I always have. My oldest kid is 18 and my friends have kids about the same age – so they’re going to bring them to the shows. That’s a good thing. All you can do is make good music and do good gigs. Do good interviews and try to sell it how it is. Stay honest to what you are and don’t get carried away with all the show business shit. That’s all that I can do. I’m definitely not the savior of music, I’m the savior of me.


Liam Gallagher:I don’t get involved with the industry and the business side of it. I let my manager do that. That’s the problem with music today – it’s got no fucking soul. I get being business minded, but it can overpower. You forget about the fucking music.”


Find out who else will appear in the issue here




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FAULT Magazine In Conversation With Reggie Yates PT.1

Photography Joseph Sinclair | Styling Rachel Gold @ Red Represents | Lauren Alice @MandyCoakleyRepresents using Medik8 and La Roche Posay

Words: Miles Holder


For those who grew up watching 1990s terrestrial television, Reggie Yates has always been a household name – the recognisable young face who young POC across the country grew up with as their pillar of cultural representation on children’s television. Programs have come and gone since he made his debut on the Desmond’s in 1993, but still to this day, Reggie is still a mainstay on our television screens.

In 2013, we were introduced to a new side of Reggie through his documentary ‘Reggie Yates’s Extreme South Africa’, I say this was a “new side” of Reggie, but for many of us it was the first time we’d ever gotten to know Reggie Yates the person as opposed to the Saturday morning television presenter. Lying alone in his tent and discussing how South Africa’s race issues were affecting his own perception of self, it was a million miles away from the Reggie I remembered interviewing Atomic Kitten on ‘Smile’ or from his seldom spoken about appearance on Celebrity Fame Academy in 2005. A real Reggie; down to earth, an undeniably, unashamedly “black” Reggie Yates.

As more projects have released, the idea of Reggie Yates as a documentary maker has gone from career pivot to career-defining; critics and viewers alike now hold his work in the same esteem as one might the documentaries of Louis Theroux or Andrew Marr – a merit not many young British stars achieve.


FAULT: All those years of presenting children’s television, was the plan always to move into documentary making?

Reggie: No, and to be honest, there has never been a plan until now. It’s only in the last decade that the focus has been on doing projects which I genuinely care for. I know where I’d like to be at forty years of age in my personal and professional life and at the age of twelve I just wanted to have fun and as I’ve matured my desires for my career changed.

FAULT: Your career is an anomaly; it prompted The NewStatesman to run a story entitled ‘Does Reggie Yates Have The Weirdest Career In Television?’ – do you feel as though it’s been weird?

I don’t think I do have the weirdest career on television, I would replace “weird” with “authentic”. When I was eighteen, the BBC were telling me that I was going to be a ‘Blue Peter’ presenter and I was like, “no I’m not.” I never watched ‘Blue Peter’ growing up, and it never spoke to me, and quite frankly, I didn’t care for it. For those reasons, I didn’t do it and they just couldn’t understand and didn’t get it.

FAULT: Blue Peter is a big gig to pass up, what did you do instead?

What I went on to do was doing children shows where it felt like I was allowed to be me in, I helped create ‘The Crust’ a sitcom we did in a tower block, and it had a predominately black cast and I was twenty-one at that point. I always did things that feel right at the time, and that’s why there’s been this crazy flow but if you study my career, it’s always moved me forward, and now, everything aligns. The book makes sense next to the documentaries, the documentaries make sense with the photography, and that’s what I’m spending my life doing. All about empathy and learning, growth, sharing and I’m not just taking pictures for the sake of it like I used to do, I’ve just shot an exhibition for amnesty international on refugees, and their stories are as important as the imagery, and that’s where I am in my career.

The night before our interview I had watched ‘Reggie Yates In A Refugee Camp’ which saw him enter the largest refugee camp in Iraq alongside 30,000 Syrian refugees. A news report played on the television showing the death of an Iraqi journalist only twenty miles from the cafe where Reggie sat. This now deceased journalist, much like Reggie, placed herself in the line of danger to get her story. One does wonder if that journalist was possibly the Iraqi counterpart of Reggie Yates, one whose career mirrors his own  and what it must be like to watch someone with such a shared experience, meet such a tragic end.


FAULT: What was it like to sit and hear the news on a journalist, possibly one whose careers closely mirrored your own killed so close by?

I can see why you can make the comparison, but I think I disengaged from the similarities because I’m not a war journalist, and in situations where bombs are going off, that’s the last place I’ll be. I put myself in situations which are difficult, yes, but it’s human interest stories which drive me. I look to find the heart of the issue through the people that I meet, and I don’t feel like I’m in a similar level of danger. It did sadden me though; her life was cut short because she was trying to do the right thing and open conversations and that’s wrong.


Throughout the documentary, we’re shown all the damning emotions one might expect from the people now forced to seek shelter within the refugee camp, but through all of this, Reggie reminds us of the power of friendship, love and compassion can make the worst of circumstances, that little bit easier. In the later episode ‘A Week in a Toxic Waste Dump’ we’re introduced to the Burner Boys, a group of young men working in dangerous conditions in the largest electronic waste dumps in the world – Accra’s Agbogbloshie. Much like the formerly discussed episode, we also end with the Burner Boys a little closer to happiness from when the documentary opened.

This isn’t the case with all of Reggie’s documentaries. In the previous series, we’ve seen him come face-to-face with the far-right, misogynists, racists and projects do inevitably end with his subjects no happier or less angry at the world than when the documentaries started.


FAULT: Has there has ever been a particular person who he wished he could have steered into seeing a happier way of living?

Every film there’s someone I meet that I wish I could steer to a happier future, but I think I have to be realistic about my capabilities. I can’t fix everybody that I meet in a documentary or the real world. My job is to connect with people and tell their story, but it’s not to change the world, and it’d be irresponsible and unfair for me to promise a relationship with everyone. A lot of people had said to me, “please tell me you stayed in touch with the Burner Boys and did more” but it’s hard because two weeks earlier I was in Iraq, and a month before that I was in jail in North Carolina and what about staying in touch with those guys?

I don’t do these films as a one-off project; I’m not some kid on a gap year building a house in Africa and pissing off forever. I have plans where there is legacy, and I return; for instance in Kenya and Iberia, I’ve been back several times. In Awal, I was affected by being there and my connection to the land from being of Ghanian decent I’ve started the ball rolling on a campaign to bring about change. It’s not something I feel the need to shout about here because I’m not doing it for promotion, I’m doing it out of personal responsibility as a Ghanaian the position that I’m in.


FAULT: You touched on a point saying that you’re not a student on your gap year going in and fucking off. How do you respond when people counter with the argument that you’ve gone into Iraq, made your documentary and then like you say, fucked off?

It’s a very easy answer; the difference is I’ve made a film about it which you and many people have seen across the country. It’s started a conversation which wasn’t there before, and we don’t know what the legacy of that documentary will be – it could sell internationally, and it explains displacement in a way I’ve never seen before. I’ve done something different and original, and it will effect change even if it’s just in the attitude of the audience watching it.


FAULT: Do you have any career regrets?

I don’t have any. There are things I could have done better, things go wrong all the time, there are documentaries which I’ve made which have been a bit rubbish, but I’ve learnt from all of them, and it’s cheesy textbook crap, it reigns true. It’s essential that I celebrate my failures as much as my successes because of nothing is a better teacher than failure.



In Pt2 – we’ll discuss Reggie’s new book, future projects, race and above all else – FAULTS.

Coming Soon…


Unseen: My Journey by Reggie Yates published by BBC Books, price £18.99 | THE INSIDER S2 is available on BBC3

Phantom of the Opera: We tour Her Majesty’s Theatre to meet Ben Forster as he finishes his time in the iconic role

Since it opened in the West End in 1986, The Phantom of the Opera has been a staple of London musicals and is now the second longest-running West End musical ever. Since 1st February 2016, the man at the helm of the titular role has been Ben Forster. Here, as he prepares to exit the show, we caught up with Ben to get candid about the experience of playing such an iconic role.

Let’s start at the start: tell us about how you got involved with Phantom, and how you came to even be considered for the role…

So obviously I did Superstar, the TV show, so I met Andrew [Lloyd Webber] throughout that whole process and I think working with him and having a relationship over that period was something that was beneficial. When I then did Evita for Bill Kenwright, it was a completely different scene; it was only a cameo, but performing ‘On This Night of a Thousand Stars’, it was very operatic and I don’t think anyone had really heard me do that sort of style. I knew I could do it because I’d trained in those sort of styles, but I was mostly known at that point for singing pop/rock. Andrew saw me do that on the opening night, and he came up to me afterwards and said ‘I think you’d be an amazing Phantom.’ I was like ‘really?’ – I thought I’d been pigeon-holed. When he said it to me, I said ‘just tell me when’. The next day I was at his house to sing through the soundtrack.


Were you already familiar with the soundtrack at that point?

I knew them all because they’re so famous, and I’d studied them at college, so I felt OK. I went to his house which was just ridiculous, and we were just sitting there singing through the songs. It was an amazing experience, and he was just immediately like, ‘I really think you’d be able to bring something new to Phantom.’ Next I came in to sing for Cameron [MacKintosh, the producer] and they offered me the part. I had to wait a year before it was announced.


What is it about Phantom you feel keeps it pulling in audiences after 31 years?

I think it’s completely a mix. The music is amazing, but it’s when you mix the music with the set, the visuals, the costumes, the actors and singers, the lighting, the sound – everything just comes together and creates magic. Not many people have seen Phantom just the once – they’ve seen it two, three, 10 times, and it’s because it keeps evolving. My interpretation would have changed it for a whole new group of people, and the next Phantom and Christine will do the same. You’re coming back and you’re seeing a different layer and a different perspective on a role which you already love because you’ve invested in it before.

What’s been a highlight of playing the Phantom for you?

There’s been so many! Winning an Olivier award – it was amazing. Going into the 30th Year we did an amazing night; Michael Crawford was here, the original cast, and there was just such an electric atmosphere… a night I’ll never really forget. The stage door is always a highlight for me – though I know some don’t like doing it. But [Phantom] is one of those parts that’s been done by so many people, and you can question yourself constantly about whether or not you’re living up to someone’s expectations, or whether you’re doing it right, and when you go outside and there’s 50-60 people outside saying, ‘Oh my god, I was in tears, I really felt your performance.’ Even if it’s just those 50 people who liked it, and nobody else did, at least I’ve left an impression on someone. All actors are really insecure, so it really helps.

How about your favourite scene or song from the show?

The final lair: it’s where everything starts to make sense. It’s when I can really turn the audience to feel something for me. I’m such a monster at the end – I think you could almost think I could kill Christine there. It’s the most challenging part, both in terms of vocals and in acting. It’s a brilliant scene, one of the reason I still love the show, and why it continues to challenge me. That’s what makes [being the Phantom] the best part in the West End.

I saw a review praising your performance as ‘creepy yet vulnerable’ – it’s true, despite all his shortcomings, we do feel empathy for the Phantom. How do you find the balance between portraying the two?

It’s hard. This not a criticism of any past Phantom or performance, but I really felt he should be a monster – he does kill people, 30-50 people throughout the show – he should be scary. He has no social or human skill, he should be quite terrorizing – there’s so many lyrics that give that away. He’s quite mentally ill, he’s been put in a freakshow, he’s escaped and lived underground. Even though he’s a genius, he’s still not right. I wanted to scare people, and make people scared of him. The problem is that if you push that line, you have to make people feel for him in the end. You should almost want Christine to stay with him, even though it’s completely wrong. He’s crazy! And a murderer. But there’s a side in everyone that’s felt abandoned and lonely, and your human heartstrings as an audience member should see him as a human being. If someone was born with a distorted face these days, they wouldn’t be [cast aside], it’s a different time and world. If you look at the real truth of it – that he was just a disfigured, disabled man – now, that prejudice wouldn’t stand. When people say I’m crazy or scary or creepy, I take it as a win!

Tell us about the daily makeup and costume process…

It takes about an hour and a quarter, which has been whittled down loads. When we started it was closer to a three-hour process. Michael [Crawford] used to get the prosthetic pieces put on his face, but now they’re all hand-painted. There’s a bald cap that goes on my head, and then there’s prosthetics that get put on my face, and they’re hand-made and hand-painted every show – nothing’s kept. It changes every day and is so fresh and organic; everything is done to an impeccable level. There’s 6 or 7 makeup artists available, but its usually lead by my main makeup artist, Tanya. There’s also 2 wigs, and then a full face of makeup.

The fans are such an integral part of Phantom’s success – they love you on Instagram – how much do you let their feedback, be that positive or negative, shape your portrayal of such an iconic character?

I’ve had someone at the stage door giving me notes before; ‘When you sing this line, I think you should do it a bit more intense’, and I was like, alright, there’s like 5 directors who are all paid to tell me what to do. But it’s fine, everyone has a favourite Phantom and a first Phantom, and people are always gonna compare me. I know that I’m doing a really different Phantom to what most people do. Sometimes when I watch others I think, they could have done that more, or this less. Actually, I just have to trust my own interpretation, I know in my mind who the Phantom is, and I wouldn’t have sang that line any more intensely, or softer. I’ve thought about every single line I sing in the show. It’s been worked through the entire team here, and I trust them completely. As soon as you question your integrity and body language, you don’t look or feel comfortable doing something, it’s suddenly not believable. Same with Buddy [Elf the Musical]– you’ve got to commit. If I’m gonna come in and go ‘SAAAANTA!’, you’ve got to do it from the innermost parts of your body and not feel like an idiot! There’s performances I’ve seen that I’ve loved that get a bad review, and much the same, seen comments on Twitter praising performances I didn’t care for. As long as some people like me, I don’t mind!

You’ve been spending time with new Phantom Ben Lewis – what advice have you passed on ahead of him taking over the role?

I’ve been telling him all the little tricks that no one will tell him! The things that you’d probably never notice. There’s a part where I’m hiding in a cross [in the Graveyard scene] and no one told me there’s a fan in there – for like 2 months! It’s so hot, it’s like being in a coffin, for 7-10minutes. One day I accidentally pressed something and a fan came on! No one told me there was a fan. It’s little things, there’s a fan in the cross, there’s tissues in the Angel [when The Phantom waits in the Angel ornament, hovering above the audience]. Even how to put Christine down, I worked out if I put my leg a bit higher up on the boat, I don’t have to bend down as much to put her down.


This Christmas you’re returning to the titular role of Elf in the musical- what was it about Elf that made you want to come back?

Elf is one of those absolute treats of a job. It was terrifying before I first did it [he previously played the role in 2014 and 2015] as I’d never done comedy, nor thought I was funny. I didn’t know whether I’d be able to make people laugh. It’s a massive crowd, and if a joke doesn’t land and no one laughs it’s really terrifying. But when it goes right, making 2,200 people laugh is a great feeling. It’s beautiful, and that story has such a nice heart. It’s perfect for Christmas. When I was asked to go back, I did debate whether I should be going back and forth in my career, but it’s one of those things, I’d miss it at Christmas if someone else was doing it in my place. I’m really looking forward to it!

How does Phantom compare to Elf?

I love that my career is being seen as that versatile. I feel finally I’m not being pigeon-holed. The similarities between the two characters though is that they’re both hidden children. The Phantom hasn’t ever really grown up, he’s not experienced life… and Buddy hasn’t either. One’s crazy and a bit weird, and one’s an elf!

What can we expect in the coming years? You have original music coming out…

Hopefully more of a ‘me’ year! I’d really love to get back to my music next year. I’d love to get out performing my own stuff. Maybe a different slant, as well as whatever else may come. I’m really looking forward to next year. I’ve worked solidly with just Sundays off since I did Rocky Horror. It’s been really intense and I’ve got six weeks off now. I want to take a nice holiday, see some places and come back and record and tour.


What is your FAULT?

Saturated fat. I just love eating! I love food. And I just can’t eat that much… I constantly battle, picking the healthy option, trying my best, but then every weekend I just eat, eat, eat, and feel awful all weekend.

You must burn some calories during the show?!

Yeah, but I’m stopping that soon! But I’ll carry on eating. My FAULT is dieting and food because I’ve gotta stay fit for my job. I love a sandwich… and cake… and coffee!

Do you work out for the show as well?

My voice doctor, when I started Phantom, asked if I was working out and when I told her yeah, she said, ‘you need to stop whilst you’re doing the show.’ She told me not to lift any weights, and not to do cardio. My neck was going really tense!


See more of Ben at his official website, or catch up with him on Twitter and Instagram.


Words Julie Bradley

Photography Jack Alexander

We catch up with Rhys Lewis on his European tour – Exclusive shoot and interview

Rhys Lewis has been on our radar since the beginning of the year. In the months since, the release of several singles have cemented him as a regular on our playlists. With raw lyrics and a sound that is mature beyond his years, he’s shaping up to be a promising talent. We joined Rhys in Utrecht, Netherlands to get to know him a little better.

You’re quite direct with your lyrics – everything from mentioning Facebook, to talking about acknowledging a girl you like being in love with someone else, to mental heath issues – how does it feel to put yourself out there?

It’s weird – it feels very vulnerable, because when you’re writing a song you forget that you’re going to have to perform it in front of people. It’s weird to release a song on Spotify; people suddenly are like “I heard it!” or “I can relate to that!”. The words you’ve written obviously have a meaning to you, and other people have a snapshot into your life. Especially when you write from the heart… it can definitely feel vulnerable.


Is it important for you to write your own material?

Yeah. I’ve done co-writing, and sessions with songwriters and producers, but I do tend to write a lot of the lyrics myself. There are songs I’ve obviously written with help from other people. Creativity and collaboration in that way has benefited me a lot. I often go in with a concept of what I want to talk about, and having someone else to help finish it or get ideas flowing is actually really good. When you’re on your own you can down your own methods, and whether ideas are any good. It’s important for me that all my songs come from a real place.

Do you/would you ever consider writing songs for others?

I’d love to. Weirdly, I came to London to study songwriting, and wasn’t really here to be an artist. So in the process of trying to get better at writing songs, I got better at singing and playing guitar. The songs I wrote at Uni became the ones I ended up singing, so I gained more confidence as an artist. Once I left Uni I gained more confidence and started to pursue it as a real option.


I see you do a lot of social media and live streams – will you use that and those as a platform for addressing such issues, or do you prefer to keep it to the music?

I think it’s harder sometimes to articulate certain emotions when you talk about them. When you spend a whole day talking about and writing a song, you process your own emotions and thoughts, and feel a lot more able to talk about it. I feel like having a conversation is something I can definitely do now. The good thing about doing interviews is sometimes you’re put on the spot and get asked about something you’ve never thought about, and suddenly you learn about yourself. You have to ask yourself questions, and that’s the same process as songwriting. It’s like free therapy! Getting [your problems] out of your head stops you from making it worse in your own mind.

What was the first time you were moved by music?

When I first saw The Good, The Bad and The Ugly, my dad showed me that film when I was 9 years old. [Sings theme tune] – Ennio Morricone wrote the music for that and I just remember thinking “music’s awesome.” It set a scene, the drama of music… I just remember that moment. Music made it so much better!


You play a lot of international gigs – how did you amass a following like that? Do the audiences differ?

I do find it different playing abroad – I think partly because they perceive British artists slightly differently. We forget the wealth of heritage that being British gives you. You’ve got The Beatles, The Rolling Stones, Led Zeppelin… all the cool artists in the world are from the UK. When you go abroad as a British artist, it feels like you’re already in a different lane. Back home there’s a lot more competition, and everyone’s British! In London there’s so many venues and gigs and they’re all amazing… it’s hard to kind of break out of that and be heard amongst the noise. Abroad, people are more excited to hear you.

With Spotify, it’s so much easier to reach a crowd – you can see which tracks are being played most, and where your fans are. It’s really cool and that data is going to be so important for the future of musicians planning tour. Even selling merch – you can get an idea of your demographic.


How is it being apart of the Decca family? Are you feeling the pressure?

It’s inspiring to be alongside so many amazing musicians that have been on Decca. [They’ve got] Gregory Porter, who is one of the most incredible Jazz singers of our time. The heritage is unreal – the oldest British label. It makes you raise your game, being alongside these artists. You’ve got to deliver and do something special. When I signed, that was when the hard work started. [The Decca team] have let me develop organically; they suggest a route but have never forced it upon me. I’ve been all over the world to put together the album. It’s unreal. I’m honoured.


What can you tell us about the debut album and what we can expect next? Any collabs? 

I’ve just finished recording the album. It’s very personal to me. It’s quite confessional… it’s about a lot of things I went through in the past few years. Living in London, trying to pursue music as a career. There was ups and downs, I doubted myself… it’s very autobiographical. I’m really proud of it.


What is your fault?

I leave the fridge door open. And I leave the tap on when I’m brushing my teeth!


Find Rhys on Facebook, Instagram and Twitter. Watch an acoustic version of ‘Wish I Was Sober’ below.


Photography and Words Jack Alexander

Sneak Peek of Nat Wolff inside FAULT Magazine Issue 26

Words: Cody Fitzpatrick

In his 23 years, Wolff stars in a film adaptation for Netflix of the manga series Death Note, in which his character comes across a notebook that gives him the power to kill anybody he pleases by simply writing their name in it.

He’ s also in the forthcoming rom-com Home Again and the animated feature Leap! , in addition to a bunch of other stuff that’ s not yet finished. Still, he finds time to be active in his pop-rock duo with his brother, Alex.

We catch up with Natt inside FAULT 26 for an exclusive photoshoot and interview – see the preview below!


FAULT: How have you grown or changed since The Fault in Our Stars?

NatThe Fault in Our Stars was super-important because it put me in touch with John Green, who became a good friend of mine. And I also got to work with Shailene Woodley, who Ansel [Elgort] and I both learned a lot from. I became friends with both of them. And then I got to work with one of my buddies, Josh Boone, so it was a big, friendly affair.

But I also think the book was very important because it introduced me to a lot of patients who were battling cancer—and also other diseases—who I think felt recognized by the book and the movie. I actually ended up having personal experience in my family with that, so it was an extremely personal and important experience for me.


FAULT: In Death Note, what motivates Light Turner? What does he need in life, and what’s he willing to go through to get it?

NatI think he feels unheard and misunderstood. When he gets this power, first he uses it to kill they guy who killed his mom, and then he uses it to kill the rapist high school bully. Then things start spiraling out of control.

I think Death Note is good wish fulfillment for anybody who’s ever felt like the world was against them. In an immature way, he kind of has to learn to grow up.


FAULT: Do you have any upcoming plans for Nat & Alex Wolff?

NatWe put out an EP in December called Public Places. Alex has been jumping around working in a bunch of films, too. So whenever we’re not on set, we’ll play shows in the city or maybe do a little tour—things like that. In August, we have this little thing of time, so hopefully we’ll get back in the studio for a little bit.


FAULT: You seem insanely busy. What do you like to do when you’re not working?

NatWhat do I do, or what do I like to do? I spend a lot of time refreshing Google to see what the next disaster is in my country.

But what do I like to do? I have a really good group of friends in New York. I think that’s why I end up gravitating toward New York any time I’m not working. I definitely like being busy. And if I’m not busy, I find ways to stay busy.




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Justin Prentice – exclusive shoot & interview for FAULT Magazine Issue 26

Justin Prentice exclusive shoot for FAULT Issue 26 – Click to order your copy now

13 Reasons Why has been the most talked about show on Netflix over the past year. Produced by Selena Gomez, the show follows the trail of 13 teenagers as they uncover the reasons for their friend Hannah’s suicide. Heavily influenced by the negative impact of social media, teenage bullying and sexual assault, the show brings to light an unexplored side of leisure television. Speaking to Justin Prentice who plays Bryce Walker – Hannah’s sexual abuser – FAULT uncovers whether it’s beneficial or irresponsible to expose a young audience to explicit suicide.


What were your initial thoughts going into a show like 13 Reasons Why with such a heavy character to play?

It’s always rewarding to play such meaty characters. I was excited for the challenge. I was also thrilled to be working with Brian Yorkey, Tom McCarthy, Selena Gomez, and Anonymous Content. Each has cemented themselves as power plays in the industry, so that alone were ample reason to climb aboard the show.


Having Selena Gomez as Executive Producer on the show – did you have any preconceived ideas in regards to the end result and what was your overall experience of working with her?

I knew that this project was going to be special, in part because of how much it meant to Selena. She and her mother, Mandy Teefey, have been a main force in adapting this story from the Jay Asher novel. If it weren’t for the two of them, we wouldn’t have a show. I’ve had a great experience working with Selena. She is a great boss to have.

Photography: Lionel Deluy @love artists agency
Styling: Angel Terrazas
Grooming: Melissa Walsh using jack black
Special Thanks: RCNSTRCT

To say that your character is not likable would be an understatement – how did you approach playing him so accurately and were you at any point reluctant?

Yeah, Bryce isn’t the best kind of person. I was never reluctant to play the part, but I was concerned with portraying him accurately. I had many conversations with psychiatrist Dr. Rebecca Hedrick and sexual assault expert and advocate Alexis Jones. They gave me great advice on people like Bryce and were instrumental in bringing Bryce to life. I wanted Bryce to be recognizable to the viewers. We all thought it would be more powerful if audiences were able to relate Bryce to someone they knew in their own lives vs. Bryce being a sheer monster. Not to say that his acts weren’t monstrous, but he still needed to be human.


The show in itself holds a strong responsibility towards young people battling depression and social bullying. Did you ever feel that it might be harmful to put out a project so heavy? There have been reports of a suicide in Austria that followed 13 Reasons Why’s formula with the tapes.

Any time you have a show that unapologetically sheds light on controversial issues, there’s going to be controversy. 13 Reasons Why is often times hard to watch because it can hit so close to home, but that makes it real. It gives people an opportunity to talk about these deep issues that are so often hard to initiate conversations about. We get so many letters and so many people coming up to us in person thanking us for the show and our portrayal of the events in the show. It’s definitely helping people. I wouldn’t say they followed the formula in 13 Reasons Why. For starters, their method was different than Hannah’s. They also didn’t leave any tapes. Any blame on the show is just speculation at this point. The girls had recently watched the show, but it has been admitted that there is no conclusive evidence of any correlation. Cases like this are heartbreaking, and our hearts go out to all people who are going through similar things. We have heard from several experts that a show does not cause someone to take their own lives. Anxiety, depression, stress, etc can. Our show gives people an outlet to talk about these issues that they may be experiencing.


Interview by Adina Ilie

What do you think are the positives of putting a character like Bryce Walker out there?

Most people know someone similar to Bryce Walker, and if they don’t personally, there are many cases of privileged athletes who get away with rape. Bryce is real. That’s terrifying, but true. Film and Television have the wonderful roles of spotlighting problems in society. The lack of education on sex and what consent looks like create people like Bryce and create people who think they can take whatever they want. These are kids, who would, often times, never do such things if they were just given the proper guidance early on.


13 Reasons Why has been confirmed for a second season  – where is the story going for Bryce?

My lips are sealed [laughs]! I can say that it’s going to be great! There is more to see in all of these characters. Season two takes some interesting turns.


Lastly – what’s your FAULT?

I suck at time management! I’m working on it. We only have one life, that we know of, so I should spend less of it procrastinating. There are a lot of things that I hope to accomplish. All of which are going to be hard to achieve if I don’t start cracking down…



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Alfred Enoch in FAULT Magazine Issue 26


We’re delighted to announce that Alfred Enoch appears in an exclusive spread for FAULT Magazine Issue 26 – The Millennial Issue.

Having appeared in the Harry Potter films as a kid, Alfred made waves when he popped up – all grown up – in TV series ‘How To Get Away With Murder’. A runaway success for ABC, the show sees Alfred star opposite Viola Davis. After a wildly dramatic season for his character, we caught up to find out what’s next for the young actor…

Alfred wears looks by Michael Kors, Gieves & Hawkes, Zadig & Voltaire, Songzio & more in our exclusive shoot

Now that your time as Wes Gibbins on ‘How to Get Away with Murder’ has come to an end, are you going to take a break or jump straight into a new project?

I don’t like taking time off. It’s a nice thing if your job is your passion, and you’re fortunate enough to make a living from doing what you love, you just want to keep doing it. I enjoy working so I don’t want to take a vacation. Those naturally come anyway as an actor, it’s just the nature of the job, so I’m just looking to work – I don’t want to rest!

Are you going to experience a fear of missing out now that you’re no longer working on the show?

I mean, It’s sort of inherent in the work of an actor that you’ll get that. I’ll get more fear of missing out if I’m just doing
one thing for ages and then not doing other things. I was talking to someone recently who said that they were surprised that that was it, and they said it’s “only been three years” — three years is quite a long time! For me, I think that more of my fear of missing out comes from thinking about all the other jobs I’m not able to do. It was a terrific, terrific experience and I loved it, but it was good.

I think it was good for the show because it was unexpected, it opens up room for the other characters, and I get to do other things as well. It doesn’t feel like it was too soon, three years is a long time.

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You’re currently in South Africa filming Troy: Fall Of A City. How are you liking playing the role of Aeneas?

This time, I know where it goes for my character. I didn’t actually study The Iliad, I studied The Aeneid, which is actually a later Roman text. It’s kind of nice to go into something and think well, at least I know my character survives!

It’s a cracking story you know, and from the perspective of a sort of slightly hyperactive
boy who always wanted to be an actor, this is one of those things you sort of dream of doing, getting to be on horseback, do sword fights, and all that stuff.

As an actor who doesn’t use social media, how do you gauge an audience’s reaction to your work?

That’s something that, for example with ‘How to Get Away with Murder’, people tell me. People are still telling me they’re excited about it, apparently it’s very big in Cape Town where I am now, so I have a lot of conversations where people express their surprise at what happened to my character.

I still have those conversations; just because I’m choosing to have those conversations personally rather than virtually doesn’t mean I’m locked in a hermetic box. There is a life outside of social media, which I’m very happy to embrace.


Words Courtney Farrell

Photography Jack Alexander

Styling Indigo Goss @ ERA

Grooming Jo Hamilton using Nars

Jack’s assistant Vivian Oparah

Indigo’s assistant Hafsa Hussain

BTS Video David Evans & Kiloran McLaren

Special thanks The Courthouse Hotel, Shoreditch





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