STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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Phoenix by Sadie Jemmett
Nice enough but musically mundane
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
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
Sadie Jemmett
Phoenix
(TwoUpTwoDown Records)
IF YOU like MOR US artists like Mary Chapin Carpenter, Beth Nielsen Chapman and Gretchen Peters, then the new album from English singer-songwriter Sadie Jemmett will sound familiar.
A collection of Radio 2-friendly country-folk songs, she moves easily between confessional and introspective ballads and more worldly concerns. Don’t Silence Me takes on the #MeToo movement — “Take your hands off my sister/Didn’t you hear her say NO?” — while The Wilder Shores of Love deals with the refugee crisis.
On Good Friday she sounds a lot like Alanis Morissette, while Leonard’s Waltz finds her talking Brexit, David Bowie and Leonard Cohen.
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