Shelly (Pamela Anderson) is a dancer. She’s been with Le Razzle Dazzle, an outdated Las Vegas show that’s full of “breasts, rhinestones and joy”, in her words, for 30 years. And now it’s closing. Where can she go, at the age of 57?
On walking into Mikalene Thomas’s exhibition at the Hayward Gallery my first reaction was “get me out of here”. To someone brought up on the paired down, less-is-more aesthetic of minimalism her giant, rhinestone-encrusted portraits are like a kick in the solar plexus – much too big and bright to stomach. Could I be expected to even consider accepting these gaudy monstrosities as art?
While discourse on many topics grows toxic and polarised, it’s the voices who speak plainly about the reality of everyday lives that provide some sanity and make us feel heard. Enter Sam Fender, whose straight talking and pride of his working-class roots has seen him emerge as a figurehead for the younger generation, who at times feel unheard and underappreciated.
The phenomenal global success of Six began when two young writers decided to give voices to the wives of a powerful man, bringing them out of their silent tombs and energising them and, by extension, doing the same for the women of today.
The Lovell sisters Rebecca and Megan can be heard supporting Ringo Starr on his new album of country songs, while at the same time their seventh album hits the shelves, and with some heft and punch, too, on the raw strength of the scuzzy guitar-led opener, “Mockingbird”. As raw-edged guitar ballads with big choruses go, it’s a strong opening account for a duo who have delivered fine albums stirring together a pungent one-pot meal of Southern rock, electric blues and Americana.
I’ve known for some time that Ariel Sharratt & Matthias Kom’s Never Work is my Album of the Year. This lividly witty, no-filler take-down of workplace servitude arrived on vinyl in May. The creation of two Canadian indie-folkies (from The Burning Hell), it’s my most-played album of 2024, containing my most-played songs, the title track and the poignant, “The Rich Stuff”, the latter a call to revolution themed around The Goonies.
One big problem. I just discovered Never Work came out in 2020. Was it a vinyl reissue? Who knows!
When first I clicked on the stream for this album, I really wasn’t sure about it. In fact, I thought I wasn’t going to like it, much as I had wanted to. But I’ve had it playing almost continuously while I’ve been dealing with mindless stuff – and I’ve come to like it.
Not without reservations of course – there are always reservations – but it’s got under my skin and I’m now properly in the groove, appreciating what Lucinda Williams is doing, delving into this most hallowed of song catalogues and bravely tackling numbers that are rarely, if ever, covered. As is her way.
Conceived in 1998 by the renowned cellist Yo-Yo Ma to remind the world of the benefits of globalisation in bringing people together, Silkroad is a non-profit organisation with a mission to create “music that engages difference, sparking radical cultural collaboration and passion-driven learning for a more hopeful and inclusive world”.
This is almost too much to bear. This sprawling 37-track collection begins with the sainted 78-year-old Dolly Parton providing a jaunty spoken narration of her family’s history in music and the church. It’s old-school Disney documentary in tone, but because it’s Dolly you listen, and with her endless countrified charm she tells a story of generations of banjo players and preachers of the Appalachians – and reminds us that these, her forebears, were immigrants.
A father and son union – the first joint collaboration by Garfunkel père et fils. Art Junior it seems has already released two solo albums, Wie Du and Evergreen, Simon & Garfunkel covers, both of which charted in Germany, from where the Garfunkel antecedents hail.