Pop
The buzz band of 2022 sound like they're from 1982: Yard Act, at Village Underground reviewed
One of the curiosities of modern pop’s landscape is that no one knows any longer how to measure success. An…
Expectations were met and then exceeded: Arooj Aftab, at Celtic Connections, reviewed
We gathered on a freezing Sunday night, inside a barrel-vaulted church designed in the 1890s by Charles Rennie Mackintosh, to…
One of the most exciting hours I’ve spent in ages: Turnstile at O2 Forum Kentish Town
Even leaving aside its origins as prison slang, punk has always meant different things on either side of the Atlantic.…
Triumphant: Idles at the O2 Brixton Academy reviewed
The single thing you don’t want when you are beginning a run of four shows in a prestige venue, with…
A story of reflection and self-discovery: Anaïs Mitchell's new album reviewed
Any artist who has habitually written or performed in character — from David Bowie to Lady Gaga — eventually arrives…
In praise of seasonal chart fodder
Christmas: the most vulnerable time of the year. I heard ‘A Winter’s Tale’ by David Essex on the radio the…
A soulful man with a blistering voice: Sipho, at Studio 9294, reviewed
When I were a lad — back when you could buy the entire back catalogue of the Fall for thruppence…
The quiet radicalism of the Chieftains
Pop quiz time: which act was named Melody MakerGroup of the Year in 1975? The answer is not, as you…
One of many soul acts looking back 50 years and doing very good business: Black Pumas, at the Roundhouse, reviewed
No musician ever went bust overestimating the public desire to hear classic soul. Slapping on a Motown backbeat has revived…
Joyous perfection from a band that's sure to go far: Gabriels at The Social reviewed
The bigger the next big thing, the smaller the room you want them playing in. You want the people who…
The death of the live album
Next week The The release The Comeback Special, a 24-track live album documenting the band’s concert at the Royal Albert…
A terrible joke gone wonderfully right: Rick Astley and Blossoms Perform the Smiths reviewed
Many of us who grew up loving the Smiths have rather shelved that affection in recent years. Many of us,…
Banal and profound, bent and beautiful: Nick Cave & Warren Ellis at Edinburgh Playhouse reviewed
Nick Cave has always been drawn to parable and fable, but more than ever these days he is engaged in…
Two gigs that prove that rock and pop is never just about the music
The single most boring and pointless thing that is ever said about rock and pop — and it always comes…
Teenage Fanclub are not a dramatic group, but they are lovely
They may no longer get many teenagers at their shows spending all their money on merchandise, then throwing up on…
Cast a spell, clear and sharp as frost: The Unthanks, at Edinburgh International Festival, reviewed
As August unwound, the EIF settled into the cavernous gazebo that is Edinburgh Park, and things began to loosen up.…
Good noisy fun: black midi, at the Edinburgh International Festival, reviewed
This year we must love Edinburgh for her soul rather than her looks. The EIF should be commended for making…
What a genuine delight to be among people: Gorillaz, at the O2, reviewed
The new music economy relies on cross-promotion and artists reaching out to different scenes. And the rise of streaming means…
When musical collaborations go right – and when they go horribly wrong
Big Red Machine release their second album later this month. It’s a fine name for ten tonnes of agricultural apparatus…
Could she be the new Sade? Celeste at Union Chapel reviewed
Some years ago, when I was the music editor of a newspaper, I called a number of historians of black…
The real death of rock
What would a rock band have to do now to be seen as heralding the future? Twenty years ago, it…
The joys of musical comfort food
I’ve given up comfort food. I’m trying to shift lockdown pounds that have left me with the physique of the…
How Trojan Records conquered the world
When Trojan Records attempted to break into the United States music market in the early 1970s, it hit an insurmountable…
Wispy, gauzy beauty: This Is The Kit, Barbican, reviewed
On the way home from This Is The Kit’s show at a socially distanced Barbican, I listened to Avalon by…
A perfect welcome back to live music: Sarathy Korwar at Kings Place reviewed
There is a reason music writers tend to stick with music writing rather than transferring their manifold talents to the…
