SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Good EvEns
MIK SABIERS casts an appreciative ear towards the multiple musical influences behind shouty yet subtle troubadour
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
Stephen EvEns
The Lexington, London
WONKY indie tunes with a quirky post-punk Britpop edge, Stephen EvEns brings a whole host of sounds to the stage as he launches his third album — Here Come The Lights — live at London’s Lexington.
Set opener Jon Snow, from the previous album, gets a groove going as the Bowie-like track sees odd keys and confessional commentary combine. Next up is Dustbin Man, which outlines and celebrates what a wonderful job public servants do, and the fact that they should be paid so much more.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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