thu 14/08/2025

New Music Reviews

theartsdesk on Vinyl: Volume 11 - Peter Gabriel, Lush and more

Thomas H Green

Heading into the final straits of 2015, it’s pleasing to read announcements by the BPI (British Phonographic Industry), the RIAA (Recording Industry Association of America) and Nielsen Soundscan that the year has been the biggest for vinyl sales this century. The sales figures are, respectively, a year-on-year rise of 35% and 56% in the US and the UK, with Europe following the pattern.

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Cassandra Wilson/Lionel Loueke, Royal Festival Hall

Thomas Rees

“I’m sorry I’m late,” said Cassandra Wilson to a half empty Royal Festival Hall, after a sulky rendition of “Don’t Explain”, the opening track from her Billie Holiday tribute album, Coming Forth By Day. It was an hour and fifteen minutes since the singer was due on stage and half an hour since the directors of concert promoter Serious had arrived in her stead – amidst boos and irate whistles – to tell us she was refusing to leave her hotel room.

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Gomez, Osborne, Britten Sinfonia, Järvi, Milton Court

David Nice

Don’t blame the players: they did their considerable best. But what could they hope to achieve with a programme in which six of the seven pieces were on a hiding to nowhere, or too short to have much of an impact? A sequence, what's more, in which platform rearrangements took longer than two of the pieces in the first half?

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Maria Schneider Orchestra, Cadogan Hall

peter Quinn

Eloquent, transfixing, profoundly moving. Last night, in the beautiful setting of the Cadogan Hall, the Maria Schneider Orchestra gave one of those landmark performances that people will remember for years to come. We heard seven of the eight tracks from the composer, arranger and bandleader's stunning latest release, The Thompson Fields, which celebrates its composer's love of her childhood home in Windom, southwest Minnesota.

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Imagine Dragons, SSE Hydro, Glasgow

graeme Thomson

Exactly three years ago, Imagine Dragons played to 150 people in Glasgow. This time, there were 12,000 people in attendance. The ascent of the Las Vegas quartet (swelled to a five-piece for this tour) brings to mind Peter Cook’s withering assessment that David Frost “rose without trace”. Their 2012 debut Night Visions and this year’s Smoke + Mirrors have shifted in their millions in both the US and UK without the band making any discernible cultural impact.

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ABC, Pavilion Theatre, Worthing

Thomas H Green

Martin Fry is unsure whether Worthing is enjoying itself enough for his liking. Clad in a sharply tailored grey three-piece suit, ABC’s frontman keeps asking us if we’re having a good time. The shouts of approval that greet the question suggest we are. In any case, he certainly seems to be.

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Jarrod Lawson, O2 Shepherd's Bush Empire

Matthew Wright

Having released a self-titled debut album last year, soul singer Jarrod Lawson has been on a European touring offensive for much of this one. Very charming it has been, too, landing Lawson Soul Artist of the Year title at the 2015 Jazz FM Awards, and a string of stellar album reviews. Saturday’s London Jazz Festival appearance – there’s a lot of jazz in Lawson’s harmonic keyboard adventures – was the final night of a month-long European tour.

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Fuzz Club London Weekender, London Fields Brewery

Guy Oddy

Some rock’n’roll gigs are built upon the lead singer’s ego, others on the lunacy of the band’s drummer. The inaugural Fuzz Club London Weekender was unashamedly built upon guitars and effects pedals.

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The Fall, Concorde 2, Brighton

Thomas H Green

Given how many members the band has had over its long existence, there will always be a running joke as to who’s who in The Fall? One thing we can say for certain is that the pretty, poised Greek woman on keyboards, the one who returns hand-in-hand with frontman Mark E Smith to the stage for the encore, is Elena Poulou, his wife of a decade-and-a-half. Alongside her, the band create a rollicking, potent brew.

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Reissue CDs Weekly: Judy Dyble, Trader Horne

Kieron Tyler

After Judy Dyble left Fairport Convention in May 1968, it was her replacement Sandy Denny who picked up critical kudos as the ensuing years unfolded. Dyble, though, did not drop off the face of the earth and, if credits were looked at closely enough and margins examined, it was evident she had a career in music as fascinating and often as admirable as that of Denny.

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