sun 07/09/2025

New Music Reviews

Punk Britannia, BBC Four

howard Male

“We didn’t have a real agenda. We just wanted to play some tunes and have a good time.” Thus spoke the immaculately suited but still mischievous-looking Mick Jones. And thank goodness he said it because, from the off - even before the off - I didn’t think anyone would. The interviewer (his ideological preconceptions crumbling) protested, so unfortunately Jones had to qualify his unguarded statement by saying he couldn’t of course speak for the other members of The Clash.

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Reissue CDs Weekly: Sandy Denny, Kevin Coyne, France Gall

theartsdesk

Sandy Denny Like an Old Fashioned Waltz Deluxe EditionSandy Denny: Sandy (Deluxe Edition), Like An Old Fashioned Waltz (Deluxe Edition), Rendezvous (Deluxe Edition)

Graham Fuller

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Westlife, O2

Natalie Shaw

Nicky Byrne, Shane Filan, Cian Egan and Mark Feehily announced they were retiring Westlife in October 2011, but not before this final farewell tour. It proved to be an opportunity to roll out the red carpet for Facebook-status emoting and self-pity about entering the post-fame abyss. The endless video clips squeezed in throughout their two-hour set (no sign of Brian McFadden, who left in 2004) must surely have exhausted even the most devoted attendees at some point during the evening.

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White Denim, HMV Forum

Andrew Perry

When these blazin’ psychedelic jazzers first landed here from Austin in 2007, there’d already been four or five years’ worth of herky-jerky cod-post-punk-reviving going on, way past the point of overdose, but White Denim were different, and obviously worth making an exception for.

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Matthew Herbert's One Pig, Theatre Royal, Brighton

Thomas H Green

There is a shouty lady outside the Theatre Royal in Brighton who takes strong objection to us attending tonight’s Brighton Festival performance of Matthew Herbert’s One Pig.  The show is based around the life and death of a pig, from birth to plate, and includes pork being cooked. We are, she tells us as we enter, “hypocritical vegetarians with the blood of farm animals” on our hands.

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Jessye Norman, Royal Festival Hall

David Benedict

There comes a point in almost every great soprano’s career when she tells the world that Tosca, the Marschallin or Isolde be damned: what she wanted to sing all along was The Great American Songbook. This announcement tends to be made - how shall I put this? - later rather than sooner. In Jessye Norman’s defence, in 1987, just five years after her landmark, ultra-luscious recording of Strauss’s Four Last Songs, she recorded a disc of Gershwin, Richard Rodgers et al.

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The Lady: A Homage to Sandy Denny, Brighton Dome

bella Todd

The proto version of this tribute show took place at Queen Elizabeth Hall in 2008 on the eve of the 30th anniversary of Sandy Denny’s death. This tour coincides with the release of a new box-set and draws on Thea Gilmore’s courageous recent settings of some of Denny’s rediscovered lyrics. A career-spanning set of covers, it pours water on the embers of a stunning back catalogue as much as it reignites them.

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Jay-Z & Kanye West Watch The Throne, O2 Arena

Natalie Shaw

One image remains stuck from Watch the Throne's second of five sold-out nights in London; it’s a song-long vision of Kanye West and Jay-Z – aka J Hova or just Hov – sat side by side for Hov’s “Hard Knock Life”. Hov’s words fell out of his mouth seemingly effortlessly as the track's structure emerged while ‘Ye sat in a silent, contemplative stoop - his dripping sweat and jewellery making him look post-marathon mid-set.

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Reissue CDs Weekly: Paul and Linda McCartney, Willy DeVille, Eric Prydz

theartsdesk

Paul and Linda McCartney Ram Paul and Linda McCartney: Ram (Deluxe Edition)

Jasper Rees

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Jóhann Jóhannsson, Hauschka, Dustin O'Halloran, Barbican

joe Muggs

“Post-classical” the FatCat label call it, and well they might. All three of the acts who played at the Barbican last night in one way or another used the instrumentation of the classical concert hall but in a way that was completely dislodged from tradition – not raging against it, nor fighting to escape it in the sense of high modernism, nor reviving it, but rather looking back on it as something other, something of a different era.

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