EWAN CAMERON witnesses a political farce that lacks a clear message
Sowing musical chaos in the nicest possible way
Damo Suzuki
EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
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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