MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
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Nitzer Ebb
Nitzer Ebb's sound, which captured the zeitgeist of ’80s British counterculture, is as relevant as a commentary on today’s strong-arming superpowers as it was then, finds WILL STONE
Nitzer Ebb
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
NITZER EBB
Lafayette, London
FRESH from a gig in Warsaw, industrial legends Nitzer Ebb would have been a bizarrely apt act to see in the Polish capital, a country that neighbours war-torn Ukraine.
As if to prove the point, sartorially conscious frontman Douglas McCarthy strides onto the stage — not removing his trademark aviators for the entire set — to launch into a thunderous rendition of Blood Money to the thump, thump, thump of programmer Vaughan “Bon” Harris’s drum pad.
Shouting his lyrics (he doesn’t sing), McCarthy is quite the stage presence as he dances, struts and shakes his hips to every tune, delivering three more from second album, 1989’s Belief — For You, Captivate and Hearts And Minds.
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