fri 29/03/2024

Adam Sweeting

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Bio
Former features editor of Melody Maker, Adam has written on rock, classical music and television for the Guardian, Daily Telegraph and Sunday Telegraph, Independent on Sunday, Uncut, Classic FM and Gramophone, and on motor-racing for Motorsport. He co-founded The Virtual Television Company, which made Mr Rock'n'Roll (Channel 4), Pavarotti: The Last Tenor (BBC2 Arena) and Imagine - Nigel Kennedy (BBC One)

Articles By Adam Sweeting

Mick Jagger: My Life as a Rolling Stone review, BBC Two - the rock'n'roll enigma gives little away as the band reaches 60

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The Undeclared War, Channel 4 review - how would the UK cope with a devastating cyber-attack?

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Man vs Bee, Netflix review - or should it be Bee vs Bean?

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Elvis review - Austin Butler shines in patchy biopic

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Sherwood, BBC One review - a traumatic journey through a painful past

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We Own This City, Sky Atlantic review - 'The Wire' creator David Simon is back on the Baltimore beat

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Pistol, Disney+ review - Punk history repeats itself as farce

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Prehistoric Planet, Apple TV+ review - David Attenborough presents life on earth, 66 million years ago

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Das Boot, Series 3, Sky Atlantic review - submarine warfare finds new horizons

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Top Gun: Maverick review - Tom Cruise defies age and gravity

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The Essex Serpent, Apple TV+ review - tradition and superstition versus the march of progress

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The Staircase, NOW review - addictive dramatisation of real-life murder investigation

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DI Ray, ITV review - Parminder Nagra battles killer gangs and cultural stereotypes

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Downton Abbey: A New Era review - will we ever see its like again?

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Life After Life, BBC Two review - déjà vu all over again

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Ennio review - sprawling biog of the maestro of movie music

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MJ The Musical, Prince Edward Theatre review - glitzy jukebo...

In a secret chamber somewhere, the producers of ...

The Dream of a Ridiculous Man, Marylebone Theatre review – f...

Like all great literature, Fyodor Dostoevsky’s final, eccentric, playfully wondrous short story seems to have been written just for us – across...

Annie Jacobsen: Nuclear War: A Scenario review – on the inco...

‘[A]n unimaginably beautiful day’: this was how Kikue Shiota described the morning of the 6th of August, 1945, in Hiroshima. The day was soon to...

Bach's Easter Oratorio, OAE, Whelan, QEH review - the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...