RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
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TOM STONE recommends the sonic and visual impact of a band that keeps evolving, musically and politically
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
Reviews of Ella Fitzgerald, My Morning Jacket, and Toria Wooff
GORDON PARSONS admires a version of Marlowe’s grim tragedy that strips it down to its gay essentials
When Cassy’s father fails to connect with his daughter — and misses out on
an evening in the Bitter End — a stranger’s self-mocking charm brings seething resentment.
Public Service Broadcasting
Brighton Dome
TONIGHT at the Brighton Dome we strap ourselves into the cockpit of Electra — Amelia Earhart’s plane — as Public Service Broadcasting take us on a journey celebrating her life and her Last Flight (the title of their new concept album).
Earhart is revealed through the new songs as a still highly-relevant icon of female empowerment. Her ethos is perhaps best embodied by PSB’s recent single The Fun Of It – the title a direct quote from the great aviator in answer to the question of why she undertook such challenges.
It’s a song that goes down well with the Brighton crowd, vocals expertly provided, as they are for much of the night by EERA. It’s also indicative of the journey of growth this band is still on, these days embracing vocals just as much as their trademark spoken-word samples.
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