The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Love is Glynde
JOE GILL wallows in superb evenings of jazz, funk and rap, and only regrets that savouring the music displaced his opportunity to heckle
love supreme
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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
Love Supreme Festival
Glynd, East Sussex
THE modern music festival can descend into an exercise in highly commercial nostalgia for old rockers and their fans. But some old acts are like rare gems that deserve new audiences.
On the Glynde estate in Sussex, hundreds gathered in fevered excitement in a huge tent as Ethiopian jazz legend Mulatu Astatke in a warm, soft voice introduced his next song, Freedom.
With his international band of top-flight musicians (trumpet, sax, cello, conga player, flute, double bass and drummer), what followed lifted that lucky audience into a state of mesmerised transcendence.
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