New Music Reviews
Albums of the Year 2019: Little Simz - GREY AreaWednesday, 08 January 2020
In 2019, music kept its place as a vital means for expression and escapism in an increasingly troubled and troubling world. Happily, there were plenty of brilliant albums to get lost in over the course of the year. Read more... |
Reissue CDs Weekly: Jon Savage's 1969-1971 - Rock Dreams on 45Sunday, 05 January 2020
As one decade gives way to the next, the beginning or end of the ten-year cycle rarely yields anything cut and dried. With pop music, a host of decade-related platitudes have no respect for the decade-to-decade switch. Depending on points of view, the Sixties didn’t begin until 1962, 1963 or 1964. Read more... |
Albums of the Year 2019: Liz Lawrence - Pity PartyFriday, 03 January 2020
Picking the best album at the end of the year is always unfair on the early releases. Recency bias means the newer albums carry more excitement. Better Oblivion Community Center's self-titled debut would be a major contender if it had released in September as opposed to January. It feels like part of the furniture now, a testament to the songwriting of Phoebe Bridgers and Conor Oberst... Read more... |
Reissue CDs Weekly: The Best of 2019Sunday, 29 December 2019
Earlier this year, the Peter Laughner box set was more than an archive release. Its diligence and scale forced a wholesale reinterpretation of the evolution of America’s punk-era underground scene. Read more... |
The Libertines, Margate Winter Gardens – last post on the TS Eliot-named tourMonday, 23 December 2019
Once upon a time – before the nation’s schism – an indie band with dubious reputation espoused the virtues of Albion and invited us on the good ship Arcadia to travel to this Utopia. Things are a bit different now. Read more... |
Reissue CDs Weekly: Big Front YardSunday, 22 December 2019
In June 1978, the still-extant independent label Cherry Red issued its first record. The seven-inch featured three slices of terse, Buzzcocks-ish art-punk by The Tights. The band were from Great Malvern, Worcestershire – as was the label. They only made one more 45 but Cherry Red – named after a Groundhogs song; the label was founded by local concert promoters – was built to last. Later, Great Malvern spawned Stephen Duffy’s Lilac Time and Blessed Ethel. Read more... |
Rod Stewart, Royal Philharmonic Orchestra, O2 review - Tonight's the NightFriday, 20 December 2019
I can’t look at Rod Stewart without thinking of Barbara, one of the naughtier girls in my third-form class at East Barnet Senior High School. She was tiny, and obsessed with him, her hair cut like his. “Maggie May” was number one, playing from tinny trannies in lunchbreak. It was from Every Picture Tells a Story, the album that established Stewart’s solo career. Barbara was in seventh heaven. Read more... |
Steeleye Span, Barbican review - party like it's 1969Wednesday, 18 December 2019
The Barbican, a week before Christmas, and it’s British folk-rock legends Steeleye Span’s last gig of the year, a year in which its vigorous seven-strong line-up – featuring a new recruit in the shape of former Bellowheader Benji... Read more... |
Robbie Williams, Wembley Arena review - 12,000 people having a bawlTuesday, 17 December 2019
"The nice bloke-ness of Robbie shines through all he does,” David Baddiel commented in a tweet thanking the singer for dedicating his Wembley performance of “I Love My Life” to him. There is no denying it. Read more... |
Sinéad O'Connor, Shepherd's Bush Empire review - classics, with a hint of the newTuesday, 17 December 2019
The queues for Sinéad O’Connor’s first London show in four years curled around the outside of the Shepherd’s Bush Empire. Inside and throughout her performance, voices in the crowd shouted their love for a singer whose voice is astounding, at a point in her career when her peers’ singing quality begins to betray age. Read more... |
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