fri 29/03/2024

Adam Sweeting

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Bio
Former features editor of Melody Maker, Adam has written on rock, classical music and television for the Guardian, Daily Telegraph and Sunday Telegraph, Independent on Sunday, Uncut, Classic FM and Gramophone, and on motor-racing for Motorsport. He co-founded The Virtual Television Company, which made Mr Rock'n'Roll (Channel 4), Pavarotti: The Last Tenor (BBC2 Arena) and Imagine - Nigel Kennedy (BBC One)

Articles By Adam Sweeting

Fellow Travellers, Paramount+ review - four-decade saga of power, politics and gay love

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Rock Hudson: All That Heaven Allowed review - the closeted life of a Hollywood great

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London Film Festival 2023 - movies in a musical vein

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Frasier, Paramount+ review - he's back! But should he be?

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Reckoning with the Jimmy Savile legacy - Steve Coogan stars in BBC One's four-part 'factual drama'

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BlackBerry review - the nerds versus The Man

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The Continental, Prime Video - welcome to the expanding John Wick universe

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Expend4bles review - last ride for the over-the-hill gang?

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Top Boy, Season 5, Netflix review - grime and punishment

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AngelHeaded Hipster: The Songs of Marc Bolan and T Rex review - musical doc falls between two stools

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Who Is Erin Carter?, Netflix review - secrets and ultra-violence under the Catalan sun

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The Following Events Are Based on a Pack of Lies, BBC One - deliciously bingeable drama from the Skinner sisters

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Harlan Coben's Shelter, Prime Video review - what the hell is going on in Kasselton, New Jersey?

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Only Murders in the Building, Disney+ review - this comedy crime drama is a class act

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Enemy of the People, Channel 4 review - murder and corruption in the age of digital media

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Wolf, BBC One review - a load of old...

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latest in today

MJ the Musical, Prince Edward Theatre review - glitzy jukebo...

In a secret chamber somewhere, the producers of ...

The Dream of a Ridiculous Man, Marylebone Theatre review - f...

Like all great literature, Fyodor Dostoevsky’s final, eccentric, playfully wondrous short story seems to have been written just for us – across...

Annie Jacobsen: Nuclear War: A Scenario review - on the inco...

‘[A]n unimaginably beautiful day’: this was how Kikue Shiota described the morning of the 6th of August, 1945, in Hiroshima. The day was soon to...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...