EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
ONE of the testimonies to how much I love the life I lead as a performance poet and musician is that, barring truly exceptional circumstances, I don’t cancel gigs.
I’ve tottered on stage with a monster temperature, staggered on with a broken leg, wheeled myself on with two knackered hamstrings and performed standing on a wall in a field in Wales after the fascists who attacked the gig had been kicked out by a combination of the audience and the local rugby club and the event closed down by the police. All in a night’s work.
I did cancel a few during my mother’s long and heartbreaking battle with Alzheimer’s but not many — the unbelievable support of my wife enabled us to care for her and me to fulfil most of my bookings as well. It’s a wonderful privilege to earn my living doing what I love and my commitment is total.
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
The Bard contributes to the campaign of Count Binface, and applauds Burnham’s plans for vocational training
In verse and polemic, the bard points out that he is a poet and musician, not a political party
The bard tours Finland and tampers with the cuisine



