Kesha is one of the 21^st century’s most characterful pop stars. She’s regularly stepped out of the boxes people have put her in, musically and otherwise. But, even taking into account truly oddball songs such as “Godzilla” (from 2017’s Rainbow), or projects such as working with Flaming Lips, Gag Order, created with cosmic ultra-producer Rick Rubin, is by far her most out-there work. It’s also the sound of a tormented human being.

“stay with the beer. beer is continuous blood. a continuous lover.” So said Charles Bukowski in his poem “how to be a great writer”. Who am I to argue. It’s a bright day and 11.50 AM. The sun isn’t past the yard-arm but the beer is cold and good. IPA. Finetime and I stand with Vanessa, her 18-year-old son Cody and her mate Jodie. Vanessa has a short blond crop which glows.

In one sense you know what you’re going to bet with Róisín Murphy. Disco beats, a lot of bright colours, costume changes, goofing about, kick-arse vocals, and hats – lots and lots of hats. And yes, all that was present and correct at the Royal Albert Hall. But in another way, any given show is alien territory.

Some rock bands base their career around being musically fluid, an ever-changing what-will-they-do-next? conundrum. Others, such as, famously, Motörhead and The Ramones, simply go on doing their thing, honing it, repeating ad infinitum, with an almost zen devotion. The results, at their best, are vigorously on-point.

My associate for the evening has recently returned from Breaking Convention, a conference on psychedelics, celebrating their renaissance in recent years. He’s been microdosing regularly. Around us the crowd sways, many with eyes closed, bobbing, silhouetted by two screens and a stage backdrop on which a dancing silver-grey blob-humanoid grooves itself to liquid, splatters flowing off it.

24 years since their last album, it’s pleasing to have Everything But The Girl back. That voice! They were conceived amidst post-post-punk “new pop” conceptualism, consistently made hit albums for 15 years, and only quit because they’d become bored of the naff entertainment industry circus. Happily, as only happens with a few bands who reappear after decades, Fuse does not disappoint.

Record Store Day is nearly here. At theartsdesk on Vinyl we have a selection of goodies which are appearing exclusively in record shops. See anything you fancy?

THEARTSDESK ON VINYL’S VINYL OF RECORD STORE DAY APRIL 2023

Suicide A Way of Life Rareties (BMG)

There will be two theartsdesk on Vinyls this week. The first is here, an epic 11,000 words on a multitude of new releases in every genre, from reissues of classics to spanking new strangeness. There’s something for everyone. On Thursday we’ll have a special edition in honour of Record Store Day this coming Saturday, so watch out for that too. For now, though, dive in!

VINYL OF THE MONTH

Elsa Bergman Playon Crayon (B.Inspelningar)

Just before the encore, the crowd is finally warmed up and dancing. It took a while, but hands are now in the air, middle-aged bodies are shifting about, muscle memory of MDMA nights in the last century.

Depeche Mode’s Andy “Fletch” Fletcher, who died in May last year, was generally held to contribute to the dynamic of the band more than the music. The only member of the band without songwriting credits, his contribution as peacemaker and “tiebreaker” in creative decision-making was nonetheless so important that speculation was rife that fellow founders Martin Gore and Dave Gahan might not be able to continue without him.