A sonic kind of equilibrium

Photo: Marija Grech

This interview was first published on the Sunday Times of Malta Culture section.Photo is by Marija Grech. 

Many may be unfamiliar, as yet, with the name Jane Doe but do not let this fool you into thinking that this is a band made up of newbies. Even if you listen to their debut EP, the intriguingly-named Homeostatic Cover just once, it is enough to dispel any such notion.

They might not gig much (I myself only heard them live once at the last edition of Rock the South) but the four-piece band have been hard at work, perfecting sound and technique, for years.

For about 10 years to be exact, pretty much since siblings Margherita and Edward Bonello, together with bassist David Bugeja founded the band.

Fast-forward to today and a couple of line-up changes, hours of practice and auto-criticism and the addition of drummer Lesnich Vassallo (himself a respected name on the scene even through his work with Relikc), Jane Doe are ready to leave a stronger mark on the local scene.

Their self-confessed perfection-ism – which they describe as being both an advantage and as “terribly annoying” – has certainly yielded fruit.

The first time I hear Homeo-static, I am captivated. The music is gorgeously multi-layered. Margherita’s haunting vocals, which are produced just to the right degree, combine with classic rock elements that, in turn, almost morph into the electronic. A vaguely ‘pop’ feel permeates all the tracks in a good way.

Homeostatic is not an EP to listen to while trying to focus on something else, at least not if you would like to experience the music properly. My second listen yielded even better stuff. Certain motifs find themselves repeated throughout the five tracks, turning it into not quite a concept album (if the term is still used nowadays) but certainly into one, connected storyline.

Because yes, there is a story to be gleaned from the music, one that I will let you discover for yourselves and one that is told – albeit subtly – even through the track titles themselves.

The mood is decidedly on the darker side of romantic, except for Got Me, a happy-go-lucky track that is very easy on the ear and that stands a very good chance of being picked up on main-stream radio.

However, it is the other tracks that I find more beguiling – from the effectively understated Breathless to Breathe with its refrain so reminiscent of French pop and the glorious, emotionally-raw Goldrush.

I start out by asking the musicians how long they’ve been working on the EP. A long time, it turns out, and this is where they confide that their perfectionism can backfire at times.

“We listen and re-listen, we change things, we ask ourselves whether this is the best version we can give,” Edward says. “Sometimes it’s almost like letting go is the biggest challenge through the whole process.”

Margherita nods in agreement. “He’s right. Knowing when to stop, when to accept that it’s finished and that we need to go ahead with releasing it.”

Is this part of the reason why they do not gig so often? David disagrees. He says that the band has a strong online following and that they tend to focus on cultivating that, before taking on more live performances.

“We enjoy working in the studio, it’s where everything happens.”

But don’t they miss external feedback? Lesnich assures me that infrequent gigging does not mean that they do not have opportunities to get feedback.

“There are a number of people who get to listen to what we are doing and whose evaluation we trust.”

The band works on every element that makes up their music themselves

Like a true artist, he adds that “however, Jane Doe is very much our baby – we like to be in control every step of the way”.

At this point Edward interjects, explaining that this statement is to be taken literally. The band works on every element that makes up their music – from marketing to design, videos and even production and recording – themselves.

“We have worked very hard to reach this stage,” he says. “We want to make sure that the result is what we had in mind.”

All four members take a very active role in the whole process and this passion is reflected in the way they talk about their music. It is easy to see that this is a very tight-knit group; with everyone on the same wavelength, there is no awkwardness arising from ‘creative differences’.

“We are not just band mates, we are also good friends and we genuinely love the music,” Margherita says.

“Even as teenagers, we’d spend every Saturday night practising, instead of going out.”

This, despite the fact that the band had not yet actually formalised itself as one, and everything they did was simply for the sheer joy of doing it. Then came the first performances and everyone decided to take things more seriously, with a view to eventually recording.

“My father was one of the first to encourage us to record and to do it ourselves. At first we were unsure whether that would work, but then we realised that we coud do it,” Edward says.

What about the name itself – why Homeostatic? All four burst out laughing. What would I like, they ask me cheekily, the long version or the shorter one? Both, of course.

“The word homeostatic refers to the tendency for interdependent elements to find a relatively stable equilibrium. An unexpected line-up change some time ago had shaken us up somewhat – however, then Lesnich showed up and we realised that we could survive even drastic changes by finding our own equili-brium. Hence, homeostatic,” Edward says.

And the short version? David bursts out laughing. “We liked the sound of the word.”

Homeostatic will be launched next Sunday at Django, Valletta. Tickets available at the door.



From Gorillaz to Tank Girl

Rufus-Dayglo-1Comic book artist Rufus Dayglo’s work is a pop culture geek’s dream. I interviewed him ahead of his participation at Malta Comic-Con. Interview was first published on the Sunday Times of Malta’s Culture section.

His body is a testament to his passion for comics. Strips from the Silver Surfer are tattooed on his right arm. On the left are strips from Devil Dinosaur, both characters created by the legendary comic book artist Jack Kirby. On his forearms is Judge Dredd by artist Mick McMahon.

These artists were Rufus Dayglo’s childhood heroes, maybe responsible for sowing the seeds of his future career. So you might say it is only fitting that they found a permanent place close to him.

Today, Dayglo is a comic book artist known best for his work on Tank Girl, Judge Dredd and indie ‘virtual’ band Gorillaz’ videos.

Fans of Tank Girl, however, are particularly indebted to Dayglo for his substantial role in resurrecting the 1980s anti-heroine from the dead in the noughties. It was Dayglo’s work with Gorillaz, the brainchild of Blur singer Damon Albarn and artist Jamie Hewlitt, that paved the way for this return. Hewlitt also happened to be co-creator of Tank Girl together with writer Alan Martin.

“I met Alan when he was selling an unpublished Tank Girl script on Ebay. So I bought one for £5 and proceeded to ask him why he wasn’t writing new strips. He said that he didn’t have an artist; and it was here that it all started going downhill, I suppose,” he says with a smile.

Dayglo had followed Tank Girl’s adventures, which were set in a post-apocalyptic Australian wasteland where the main character lived a sex, drugs and punk rock life in an army tank pretty much since the character’s inception.

Of course, since those days Tank Girl has changed considerably. In Dayglo’s words “she changes from issue to issue, she’s mercurial… and this has helped the character adapt and survive as no one group can lay claim to her”.

This has also helped give the series a diverse fanbase, unlike a lot of comics that seem to attract “only the traditional fanboy crowd” and this is something that Dayglo is particularly proud of.

Tank Girl has been drawn by various artists. It can’t be easy for each individual artist to maintain the titular character’s essential identity while still injecting his own style into the work.

Dayglo believes that the priority for each artist is “foremost, to tell the story, for it to be fun for the reader and to have a sense of love to it”. He explains that he approaches Tank Girl as an established character.

“When I first took it over, I wanted it to feel like a continuation. I hate reboots where the character feels nothing like the character that was previously so well-loved. Change is good, but sometimes in comics change is an excuse for not having faith in the original character or story,” he says.

Tank Girl, of course, was born to a disillusioned, Thatcher-disappointed audience back in the late 1980s. Does today’s character reflect the issues of current living and, equally importantly, what is she angry about nowadays?

“I think Tankie has found a new audience. A young audience that is similar to the kids in 1980s, growing up in a world where they have little say in what was going on around them. She is still a tough talking gal who gets things done.”

Tank Girl is the Ramones, all bubblegum and rest and recuperation stupidity. Judge Dredd is The Clash, all earnest politics, and posing

With a smile Dayglo adds that nowadays the character tends to get very angry at “the price of Kitkats, people wearing crocs, white guys with dreadlocks and that the packet of sea monkeys she ordered off the back of a comic book can’t actually sing or wear little crowns”.

Sounds quite like your average geeky teenager on a bad day, in fact. Besides Tank Girl, Dayglo is also known for drawing a number of the Judge Dredd comics, which are set in a brutal police state where judges are also juries and executioners – in the literal sense of the words.

Both Tank Girl and Judge Dredd contain dark elements, the former set within a post-apocalyptic scenario and the latter featuring an absurdist dystopian society.

How does this all relate to current real life issues? Incidents like the recent riots in Ferguson, a small town in Missouri, the US, where government imposed curfews and deployed military police following protests against a police shooting – spring to mind. Does Dayglo view the characters as a possible indictment of a post-9/11 society?

“I don’t really find Tankie very dystopian. Well, maybe at an initial glance it does all happen in a Mad Max-like environment, but then again the storyline is fun, silly and warm, revolving around a group of mates. However, I think we purposefully steered clear of serious world events, so that the comic would not be dated.”

This is different from Judge Dredd, which tackles political issues head-on.

“John Wagner, who is the creator and writer of Judge Dredd, has weaved sci fi, real-life politics and moral dilemmas into a wonderful world of suppression, oppression and paranoia. The themes are dark and yet it still can be very funny. This helps add light to all the darkness. John writes great satire and political commentary. He has the ability to make you laugh and cry at the tragedies in this world,” Dayglo says.

So how does Dayglo place the two characters in terms of political positioning?

“I think the best parallel I can find is in punk rock. Tank Girl is the Ramones, all bubblegum and rest and recuperation stupidity. Judge Dredd is The Clash, all earnest politics, and posing,” he says, with no hint of an apologiy to The Clash fans.

Does this mean he is a firm believer in the power of comics to make a political statement and shape public opinion?

“I think any medium that gets people thinking and engaged can make a difference. Look at all the people who have adopted the ‘V’ mask from V for Vendetta, for public protesting. David Lloyd’s design has become the face of public unrest and political change, internationally. Not bad for a little black and white comic, right?

In fact, a lot of Dayglo’s work, including his input on the Gorillaz video , happens to revolve around storylines that can almost be viewed as anti-establishment.

“My view of the world is decidedly punk. I believe that it is important to question authority, celebrity and institutions. We owe nothing to these. People should have more control over their lives. I try and do this myself by making art and telling stories,” he says.

Right now, Dayglo is also working on a new project, Solid Death Mask, which will be distributed as a free online comic. He explains that the comig has been in gestation for a while, but that it should be up and running by next year.

The story revolves around sisters (who are at war with each other) and their mother, who just happens to be the goddess of death and who has gone missing. The sisters attempt to put the world to rights.

“I decided to launch it free online, mainly because I thought it would mean I can do what I like and release it in little bursts. Then, I can collect it as a book later. I’m approaching it as a punk project; there’s no funding and it’s just myself and my friend Sofir, who has pitched in with some story ideas.”

The artist is also working on a new series for DC’s Vertigo, which is expected to debut next year, besides another series for 2000AD that will bring back some well-loved characters.

In the meantime, he looks forward to his first time at Malta Comic-Con, specifically because as a history nerd he already has plans for exploring the island and working on some drawings based on his discoveries.

Does this open the door a crack to a future Tank Girl absconding from Australia in favour of some adventures based around the temples of Malta? Who knows?


Aes Dana & Cygna interviewed

Ħaġar Qim. Photo Studio Seven

Ħaġar Qim. Photo Studio 7

This interview was first published on The Sunday Times.

Following a hypnotic experience at Ħaġar Qim two years ago, French DJ, composer and sound engineer Vincent Villius – better known as Aes Dana – is collaborating once again with Mario Sammut (artistically known as Cygna) for a second live performance in Malta.

The two artists’ ‘silent’ concert in Ħaġar Qim, held back in 2012, had left the audience hypnotised by the visual/sonar experience that used cutting-edge technology to link our heritage with modern-day.

The upcoming concert, titled A Panoramic Friday the 13th, promises to be equally uplifting, with the performance complemented by a video-mapped stage (set up with the help of Studio7) for stunning, realtime effects.

Cygna andAes Dana will also be supported by Sonitus Eco, Duncan F, Claire Tonna, Stimulus Timbre, Across Borders, Microlith and Nebula. Aes Dana is expected to stop in Malta for some days after the performance in order to plan new projects with Cygna.

A Panoramic Friday the 13th will be held on Friday at Buskett Road House. For more details click here.


Aes Dana

Aes Dana interviewed

 You recently remastered Cygna’s album Opus Ena on your label, Ultimae Records– what led to this decision?

Opus Ena is an outstanding album which really deserved a new mastering to reveal the beauty of the compositions, enhancing some of the frequencies, dimming others. I took the decision to work on this prior to a digital release on Ultimae Records.

What are you expecting from the upcoming concert?

I’d say a good soundsystem, and a welcoming public. Warm weather, of course, since it’s outdoors. I hope the success of our previous concert in Ħaġar Qim will convince audiophiles to join us for this long ambient, downtempo and chillout night. We’re bringing together a bunch of high-flying artists who I’m sure will delight everyone.

What can you tell us about your collaboration with Maltese artists like Cygna?

Mario Sammut, better known as Cygna, is a true genius, a free and bubbling artist. We click together and, in the studio, we create and compose at a very fast pace. There’s a new sound that comes out of the fusion of our minds, styles and expertise which ishighly motivating. We’ve got a few projects coming up together and an album for Cygna to release on Ultimae Records for sure.But we are also planning collaborative tracks and an audio sample collection.

What has been happening on the musical front since the release of Pollen?

I released an audio sample library entitled Aethers 01 in December last year; it’s a collection of field recordings, atmospheric pads and drum elements dedicated to all music producers. Ultimae Records released the USB key in a neat metal box, and for the digital version we did a partnership with Loopmasters. I can humbly say it was a success and now I’m working on the second chapter.
I’ve also been working on all the Ultimae releases, mastering and artwork; developing the studio and mastering works by many international artists, and working on various remixes and my next series of vinyl releases, [Far & Off ].



Cygna interviewed


This is not your first collaboration with Aes Dana – how did your music association start and why do you enjoy working together?

It started a bit more than two years ago. The first track was made purposely for the Ħagar Qim concert andour wotkflow was so natural from the first time we set in the studio to work. Both of us are very efficient and know our tools. We have common backgrounds, which also enhances our collaboration.


What can you tell us about the setlist for the upcoming concert?

Apart from an outstanding specialised sound system, we will have special lightning and projections. The stage will be video-mapped for stunning realtime effects,all of which is done with the help of Studio7, who always support my projects.

The featured artists will slowly lead to Aes Dana’s extended two-hour live act, during which he will be spinning some of his new works. We will set up a sonic pyramid housing a surround system in which a 10-minute soundwork will be playing in 5.1 sound.

In the meantime you’ve also been working on a lot of collaborations with other artists, from musicians to theatre, artistic installations and others. Is there a particular project that is close to your heart?

Alot has been happening in the last 12 months. I’ve been writing music for films like Simshar and Sħab, writing music for television series, theatre performances and even producing other Maltese artists’ work. I’ve collaborated on tracks with Carbon Based Lifeforms, Chapter Zero and Aes Dana,performed at festivals abroad and am working on interactive installations for upcoming local festivals. But I have to say that I mostly enjoy theatre productions.

What are your most recent inspirations?

Honestly,I don’t believe in the term ‘inspiration’. Nothing inspires me, or also it could be that eveything does. So inspiration is not a variable which pops out here and there, but rather a constant, evolvingelement.

I hope that soon I will find time to sit down and start a new album for Ultimae Records, and in parallel prepare for two big projects: one similar to the Ħaġar Qim experience and the other a concept album entitled Music for Theatre.






Malta Comic Con: Charlie Adlard interviewed

 An edited version of this interview was first published on the Sunday Times of Malta.

Fans of AMC’s The Walking Dead know that there’s only one thing better than the television series – and that is the comic version.  I had a chat with CHARLIE ADLARD, the illustrator who brings the original characters to life, ahead of his attendance at this year’s Malta Comic Con.


ADLARD_4-¬Olivier Roller

Charlie Adlard. Photo Olivier Roller.

There’s nothing like a good, old-fashioned zombie apocalypse to get business booming, at least if you happen to be in the graphic novels or television business. And few products prove this as unequivocally as The Walking Dead (TWD).

Many of you reading this will be familiar with the name thanks to the AMC television series, which at Season 3 counts over 11.42 million viewers. However, real zombie – sorry, walker – enthusiasts fell in love with TWD way before it became cool to spew Shane, Lori and Rick (three of the early protagonists in the story) memes on Facebook.

The original characters, in fact, were conceived way back in 2003 by writer Robert Kirkman, and published by Image Comics. The monthly black and white comic series was an immediate hit, and went on to win the 2010 Eisner Award for Best Continuing Series at the San Diego comic-con.

And the man who brings the stars of the story to life with mind-blowingly effective illustrations is Charlie Adlard, who took over from Tony Moore on Issue 7.

Adlard is the one who makes it all real. From the stuff of nightmares that are the walkers, to the poignant humanity of the main protagonists – who kill, maim, hunt, love, fight and survive years of post-apocalyptic wasteland without becoming clichés – he is the one who translates them from our imagination to create the strongest visual effect.

wd cover 92

The Walking Dead cover #92

The question almost begs itself – does Adlard follow the television series, and if yes, how does he feel about seeing his and Kirkman’s babies being given a new identity by someone else? Putting all myths to rest, turns out he is pretty okay with it.

“I do follow the series. I have to confess that at first it felt like homework, but then I started to genuinely enjoy it. The changes that were introduced were for the greater good. After all, if the television version is an exact replica of the comic, well it would be pointless. They are doing a good job of following the comic plot line as far as necessary, in fact the only character they brought in who isn’t in the comic version is Daryl.”

Whatever the reasons, readers and viewers are certainly gobbling both versions up. With myriad movies and books focusing on zombies, it is natural to wonder what causes the popularity. Adlard believes that such popularity is cyclical – “one season it’s zombies, the next it’s vampires and the following it’ll be something else” – yet, surely there is more.

“I suppose, to a certain extent it is a reflection of the times that we live in. When there are problems in the world, people tend to favour apocalyptic scenarios. Think of the current financial meltdown, the strife in the Middle East, and a host of other current problems that we face as an international community. Having said that, you can’t put down this popularity to one reason, a variety of factors would be involved,” he says.

So does all the doom and gloom affect him on an emotional level? After all, it can’t be that healthy to picture scenarios of Armageddon on a daily basis… However, turns out that Adlard is made of much sterner stuff and is not about to allow his protagonists’ misadventures affect his zen.

“To be fair, I live in a pretty idyllic rural area in Shropshire, the UK. It is so totally removed from city life, and from everything that is Hollywood or LA, that it’s practically impossible for the theme to affect me negatively. When I’m working in my studio I have this vista that gives on to a conservation area, full of green fields. It’s pretty much the opposite of what I’m working on, there’s nothing apocalyptic about it.”

wd cover 114At this point, Adlard must feel the scepticism emanating from my end, because he laughs and defensively adds that “it’s Robert (Kirkman) who has the unfortunate task of dreaming up the apocalypse; he is the one with the problems, not me”.

This serenity may also have something to do with the fact that, while some illustrators like to base their work on factual research, Adlard says that his imagination is his main source.

“With respect to the walkers, I could carry out research in morgues and so forth I suppose. But to be honest they are the easiest to illustrate, my imagination does all the work. The humans constitute a bigger challenge, because they have to reflect real life. They are the ones who make the story come alive, who keep the readers hooked. Without them, the series wouldn’t have lasted 20 issues,” he says.

The challenge, he explains is to keep their personalities interesting and credible, giving them individual traits without resorting to costumes or stereotypes. Particularly, in creating credible reactions to the extraordinary things that are happening around them, all without going over the top. So, given that the creative juices are shared between Adlard and Kirkman, what happens in the case of a divergence of opinion?

“I don’t believe this has ever happened. We are both professionals and we don’t step on each other’s work. We like each other’s work, which is probably why things move so smoothly. Seriously though, there isn’t much to time to criticise and disagree.”

Like it or not, Adlard’s name is by now pretty synonymous with zombies – this despite the fact that he has done myriad other cool work. However, he says that he doesn’t have a partiality for the post apocalyptic genre, and neither for any other genre for that matter.

“I like to keep my work diverse. One of my biggest fear is being typecast, and I suppose to a certain extent it is impossible to avoid completely when you are part of something like TWD.”

So given his credentials, what would be his one weapon of choice in a possible zombie apocalypse? Adlard laughs ruefully.

“Umm. A sharp pen.”

Rick really would not approve.

Malta Comic Con 2013 is taking place on November 30 and December 1 at St James Cavalier, Valletta.




The night Valletta comes alive


Notte Bianca returns on Saturday, and with it a new artistic director, SEAN BUHAGIAR. He tells us what’s in store. Photo Steve Mugliett.

Notte Bianca, the one night in the year when the capital comes alive with a multitude of performances, exhibitions and events, is set to take a new direction this year. Not so new as to lose its intrinsic vibe, which has successfully attracted the Maltese in thousands over the past seven years, but certainly new enough to up the excitement level a notch or two.
DSCF1534The man to thank for this new direction is Sean Buhagiar, him of ĊirkuMalta (the animal-free circus) fame. Buhagiar succeeds Peter Busuttil, whose contribution in establishing Notte Bianca as one of the biggest dates on the Maltese cultural calendar was invaluable. “Notte Bianca is the one night that really gets everyone flocking to Valletta and the idea is to make the most of it and to ensure a fun-filled evening. I want to take culture to the people, but not necessarily in the usual manner. Visitors to Notte Bianca do not come there to have intellectual stuff thrown at them – they usually come to soak in the atmosphere, to wander around the streets and enjoy whatever is happening around them. My vision is to use this to our advantage.”
The way Buhagiar plans to do this is simple: re-interpret existing spaces in the city, presenting more street art and adding that touch of the unusual and the spontaneous that will ensure visitors will be exposed to a number of cultural genres that they might not otherwise be interested in.
Buhagiar says that his goal is to leave a cultural legacy by investing in facilities that will remain there and that can be further exploited in other, future events. His other long-term goal is to enable a cultural regeneration of specific areas inDSCF1576 Valletta.
“Just to mention a couple of examples, we plan to set up a Jazz Quarter in the Marsamxett area. There is nothing to stop this from becoming a regular event,” Buhagiar explains.
Buhagiar believes in Notte Bianca as an opportunity for creatives from all sectors to collaborate across the board. This includes more co-operation between amateurs and professionals; Buhagiar mentions the possibility of those who are involved in carnival festivities collaborating with professional visual artists as an example.
The performing arts hold a dear place in Buhagiar’s heart, in particular street arts, which he says is already a massive phenomenon across Europe. Buhagiar also believes that the visual arts need to be presented through a different angle, besides including new blood and perspectives and being combined with street culture.
There is also a focus on music. Notte Bianca is well-known for offering a diversity of genres. The more rock/pop/indie oriented music traditionally winds up being performed as a hodge-podge in the Upper Barrakka area, however, Buhagiar intends fine-tuning the system in order to offer a curated product.
“For starters, one of the conditions this year is that all participating bands need to perform mostly original work. I did not want a situation where you get bands offering six covers and only two original pieces. The DSCF1555idea is for Notte Bianca to offer them a showcase and to facilitate encounters with producers, agents and venue owners. This can only work if they are presenting original material,” he explains.
Moreover, the programme will be curated in such a way as to avoid having wildly divergent genres clashing with each other, with – for example – a jazz outfit being immediately followed by a punk band.
Performances will also not necessarily stay anchored in the Barrakka areas. Buhagiar believes that people who visit Notte Bianca rarely do so with specific events in mind. Rather, they attend to soak the atmosphere, enjoy the food and drink and to meander casually – while doing this, they obviously encounter whatever events happen to be going on in that particular area.
“Because of this, we’re extending the impromptu and random aspect of the programme considerably. People might be DSCF1542walking down an alley and suddenly come face-to-face with two squabbling noblemen; or maybe they will be crossing Zachary Street when they come upon a pianist doing his thing. They might not necessarily plan to attend one of the classical music events – but in this way, they still get exposed to it.”
Classical music, this year, will in fact be taken mostly outdoors, with what Buhagiar refers to as the different ‘levels’ of Valletta being used to maximum advantage. These include rooftops and balconies, which reportedly will offer a number of surprises.
“There is also a Malta Philharmonic Orchestra concert in St George’s Square. This year, it comes with a difference and we will not be using the traditional stage. Let’s just say that we will be making use of all the potential space in the square,” the artistic director says.
DSCF1545Buhagiar adds that a number of bars, restaurants and venues also set up their own entertainment for the night. Although not part of the official Notte Bianca programme, these events can still co-exist to advantage of, he says.
“I’m trying not to filter these. Chaos can be used well.”
Some events in this year’s programme leap out more than others. Ġggantija, a possible collaboration between different architects, artists and scientists that may culminate in a huge, floating structure over the skyline of Valletta, is one of them. Rather mysteriously, Buhagiar says that more details are set to be revealed later.
Another equally innovative event is Urbe Nova, a collaboration with V18 and Science in the City which sees international musicians recording Maltese work and projecting the performance live on the walls of Castille.
“This is the perfect example of an inter-disciplinary collaboration,” Buhagiar tells me excitedly.
Looks like it is all game, set, go on the Notte Bianca camp – but Buhagiar leaves with a parting shot.
“Changes take time to implement. But we are already working hard for next year’s edition, when you can expect more developments.”

Notte Bianca will take place across Valletta on October 5.

An edited version of this interview was published on the Sunday Times of Malta.