MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
Sowing musical chaos in the nicest possible way
Damo Suzuki
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
Damo Suzuki
Lexington, London
A SINGLE, drawn-out note, reverberating around the room, heralds the start of something and, as the sound builds, the small stage at London’s Lexington starts to fill.
The note from the keyboard player is joined by the beat of a drum, then a bass adds to the groove, before two more musicians on keys and a lead guitarist complete the mix, but it’s only when a sylph-like Damo Suzuki walks on stage that the room really rises.
Standing there as the maelstrom of music envelops him and his swirling grey hair, he launches into the first and perhaps what may be the only track, calling, cawing and getting an avid audience rapt and ready to rock out.
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