ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
Tirades against Tories
MIK SABIERS succumbs to the spittle of Nottingham vitriol, and walks away content
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
Sleaford Mods
Scala, London
TIRADES against Tories, blocky beats, acerbic bon mots, rants about the state of society and a message that reflects the grim state we’re in, this is what Nottingham’s Sleaford Mods bring to the stage.
They’re at the Scala in London’s King Cross as part of War Child’s BRITs Week - where major artists play small venues to generate funds and support children living through conflict. To date more than £7 million has been raised.
Right from the off the band set out their stall playing the title track from their last album UK Grim. The music is driven by Andrew Fearn, who occasionally taps his laptop, but in the main is bouncing around the stage dancing dementedly as electronic beats, loops and odd keyboard riffs ring out. It is a merciless beat that drills into you, but gets the crowd moving.
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