New Music Reviews
Grace Petrie, Summerhall, Edinburgh review - songs of solidarityMonday, 22 November 2021
“How to explain Theresa May?” Grace Petrie muses from the Summerhall stage as she introduces decade-old opener “Farewell To Welfare”. “Well, in 2010, she was as bad as we thought it was going to get.” Read more... |
Music Reissues Weekly: Lenny Kaye Presents Lightning StrikingSunday, 21 November 2021
The premise driving Lenny Kaye Presents Lightning Striking is the idea that, as it’s put here, “transformative moments in rock ’n’ roll” not only happen at a particular time but in particular places too. Somewhere struck by that lightning at a certain point becomes pivotal, influential and a node from which influences ripple outward – impacting on the next such strike. Read more... |
Soweto Kinch, LSO / 'London Third Stream', London Sinfonietta, EFG London Jazz Festival review - projects from the political to the loop-ySaturday, 20 November 2021
“Take Jazz Seriously,” wrote Maurice Ravel after his American trip in 1928. This past week of the 2021 EFG London Jazz Festival has seen that advice itself being taken seriously, with a bunching of projects and premieres. Jazz musicians have been welcomed in to work with London orchestras. The fruition of months of preparatory work has been on show. Read more... |
Cécile McLorin Salvant, EFG London Jazz Festival review - strength, vulnerability and humourThursday, 18 November 2021
A fascinating song list that juxtaposed originals with musical theatre, pop songs, Brazilian music and more. Read more... |
OMD/Scritti Politti, Brighton Centre review - an engaging, ebullient good timeThursday, 18 November 2021
A persistent moan of this writer in recent years, about gigs attended by those his own age (54) and up, is that, however good the band is, the audience are stationary, staring, semi-catatonic. They don’t twitch or move, facing stage-wards earnestly, silent, as if watching Chekov at the theatre. Their joy, if it exists, is internalised, unreleased. Dancing something forgotten long ago. Read more... |
The Jesus and Mary Chain, Barrowland, Glasgow review - Scottish siblings still the loudest gang in townTuesday, 16 November 2021
There is unquestionably a more mellow side to the Jesus and Mary Chain these days, even when reviving their most ferocious glories from the past. Prior to launching this two-halved set, comprising their 1987 classic Darklands to begin with and a mixture of singles, B-sides and obscurities for after, vocalist Jim Reid took time out to politely explain the format. Read more... |
Jazz Voice, EFG London Jazz Festival review - from intimate delicacy to stunning virtuositySunday, 14 November 2021
A celebration of that most extraordinary instrument, the human voice, this year’s edition of Jazz Voice – which gladly welcomed back a live audience and a full-strength EFG London Jazz Festival Orchestra – ranged from music of intimate delicacy to stunning virtuosity. Read more... |
Music Reissues Weekly: Essiebons Special 1973-1984 Ghana Music Power HouseSunday, 14 November 2021
One of the most interesting tracks on Essiebons Special 1973–1984 Ghana Music Power House is Joe Meah’s mysterious "Dee Mmaa Pe". It’s not mentioned in the compilation’s accompanying booklet, and Joe Meah doesn’t figure in any of the standard discographies littering the world-wide web. Read more... |
Black Pumas, O2 Institute, Birmingham review - bluesy grooves with high octane energyThursday, 11 November 2021
Having been founded only in 2017 by singer/songwriter Eric Burton and guitarist/producer Adrian Quesada, Black Pumas have been rapidly rising to fame, with a Grammy award nomination in 2020 and the majority of their current European tour dates sold out. Read more... |
Jane Weaver, Hare & Hounds, Birmingham review – alt-popper struggles with lethargic audienceMonday, 08 November 2021
Back in the mid-'80s, in a time before acid house and Bez’s freaky dancing, there was a type of audience that seemed endemic at indie gigs and that just didn’t want to dance. Hordes of blokes (and it was mainly blokes) would stand facing the stage with their feet firmly planted on the floor, moving only to raise pints of lager to their lips and maybe to clap between songs. Read more... |
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