RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Contempt for the warmongers
PAUL FARMER relishes, and recommends a magisterial set from one of the great singer-songwriters
thompson
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
Richard Thompson Band,
Bristol Beacon
A BRITISH concert by Richard Thompson is an occasion and there was a real feeling of excitement in the wide-open vestibules of this newly refurbished (and renamed) venue.
This powerful performance began with the sinuous Freeze from new LP Ship to Shore, Thompson sporting a fetching pink Stratocaster and his familiar starred beret, alongside Taras Prodaniuk on bass, Zak Dobbs on guitar and mandolin, Zara Phillips on vocals and acoustic guitar and the legendary Dave Mattacks on drums.
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While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
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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