We are bowled over! We knew that theartsdesk.com had plenty of supporters out there – we’ve always had a loyal readership of arts…

After Barber Shop Chronicles comes a female slice of pan-African life, set in Harlem in July 2019, at the fag end of Donald J Trump’s first…

Blackpool Cool is the third and last album by Glasgow’s Head. Issued in 1977 on the band’s own Head Records label, it was preceded by 1973’…

Jose Gonzales is one of those musicians who is well known without many recognising it. Until that is, someone plays his most known track “…

The vertigo of lawlessness in Stalin’s Russia carries contemporary resonance in Sergei Loznitsa’s latest Soviet parable. As a Russian…

“Fear death by water,” says the fortune-teller in TS Eliot’s The Waste Land. There were a few moments in Natalie Abrahami’s new production…

Was it a risk to attend a third Irish Baroque Orchestra Matthew Passion in as many years, given that previous indelible interpretations had…

If it were true, as Timothée Chalamet has said, that ballet as an art form has become a museum, the job of running a national ballet…

Brahms: Trio Op. 114, Robert & Clara Schumann: Romances. Joachim: Hebrew Melodies Tabea Zimmermann (viola), Javier Perianes (piano)…

Tom Misch’s Full Circle is an easy, pleasant listen, but it tends to drift by without leaving much of a lasting impression. He leans into a…