George Evelyn is one of British music’s more interesting characters. With equal parts Yorkshire bluntness, hip hop swagger and cosmic dreams, he has filled Nightmares On Wax’s beat collages and soul grooves with soundsystem heft and endless inventiveness for over three decades now. Ever since the N.O.W.
Lana Del Rey’s eighth album would tell her story “and pretty much nothing else”, she teased, as her planned, near instant follow-up to Chemtrails Over the Country Club slipped back from spring to autumn.
Laura Marling was one of the most active lockdown performance artists, doing her bit to play solo streams to a captive and culturally starved virtual audience.
The simplicity of her uninterrupted sets, low production values and absence of small talk suits her so well that she’s continued the social distancing of just her and a guitar on stage in this, her first real life tour with actual crowds in four and a half years.
Upon emerging onstage at the Barrowland, Fontaines DC took time to pass flowers into the crowd. Aside from the occasional thank-you later on, that was the only genteel note struck in a thrilling, compelling and often bruising set. Their last visit to Glasgow back in 2019 had been hindered at times by some dubious sound, but there were no such issues here. Instead, this was a group in control throughout, pacing the set well and sounding rousingly triumphant by the night’s end.
I always thought those celebrity duets albums, recorded across the miles – or sometimes with someone who had long since passed to the great arena in the sky – were generally fraudulent, always cheesy and sometimes mawkish. Now Covid and 18 months of forced separation have legitimised them, and all sorts of other things to boot.
Rufus Wainwright believes opera to be “the greatest art form that has ever existed on the planet” and of course he’s written an opera himself – Prima Donna, which has been described as “the work of a man who loves opera and the sensations it delivers, without understanding how it is paced, or how it generates dramatic tension”.
From underground curiosity to cult icon, now label head and superstar, Atlanta’s Young Thug has continued to reinvent himself, as well as rap at large, for the better part of a decade. After being announced over two years ago, his new album Punk is finally here.
Between August 1966 and November 1967, The Syn played 36 shows at London’s high-profile Marquee Club. In June and September 1967 they issued two singles on the happening Decca subsidiary Deram, an imprint scoring hits with releases by Cat Stevens, The Move and Procol Harum.
There is a three song segment midway through Manic Street Preachers’ set which suddenly ramps everything up. For this brief while, the performance and response in the sold-out, nigh-on-2000-capacity venue, elevates the concert from another decent gig on another tour in front of a devoted fanbase, to something more memorable and truly electric.