The bard pays homage to his two muses: his wife and his football club
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Slipping through the net
Chilly Gonzales’ music is interspersed with much thoughtful and comedic storytelling and philosophising, writes GEORGE FOGARTY
BIRDS OF A FEATHER: Chilly Gonzales and Jarvis Cocker at the Albert Hall
[Wim Knuts]
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
Chilly Gonzales
Royal Albert Hall, London
CHILLY GONZALES is a unique artist who has always managed to plough his own furrow. Dropped by his record label in 2004 after handing them a solo piano album (in complete contrast to the dancefloor rap they had signed him for), he went on to release it independently, whereupon it became his bestselling album to date.
He has remained independent ever since, leaving him free to experiment and change direction as he sees fit — often in the middle of a song, as it happens.
His latest album, Gonzo, throws down a self-therapising gauntlet to his fellow musicians, posing the stark question: can you be as arrogantly vulnerable; fearlessly iconoclastic and recklessly genre-busting as this, and still rock the party — all in one go?
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