STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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Iggy Pop, Barbican London
Punk godfather keeps his shirt on to great effect
Suits you: Iggy Pop
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
IT'S true. Iggy Pop has kind of “gone off” rock’n’roll and he admits as much in the liner notes for new album Free.
“I began to recoil from guitar riffs in favour of guitarscapes,” he writes and the record — a more laid-back affair with plenty of trumpet — proves the point.
Perhaps that’s why tonight’s gig from the usually topless godfather of punk is being billed as part of the London Jazz Festival. And he keeps his shirt on.
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