MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
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He should have his name written all over it
KADEEM SIMMONDS argues the case for casting Idris Elba as the next James Bond and, for free, advises the franchise's producers how to go about it
Amazing: Idris Elba in The Wire
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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
WHAT springs to mind when you think of James Bond? Spy. 007. Aston Martin. Gadgets. Martini. Smart. Sophisticated. Suave. Tuxedo. I could go on. But at no point does “white” enter my brain.
So the continuing debate as to why Idris Elba cannot play a fictional character because of the colour of his skin seems senseless.
I first encountered Elba’s acting ability on the BBC’s detective show Luther. As DCI John Luther, he was brilliant — angry, savvy, athletic, vulnerable and with a wide emotional range that came across as authentic — everything you'd want out of a lead character.
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