GLENN BURGESS suggests that, despite his record in Spain, Orwell’s enduring commitment to socialist revolution underpins his late novels
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Music bridges troubled waters
CHRIS SEARLE reports on a festival where musicians from around the world defied dark times with a sense of musical unity
CHRISTOPHER POLLARD explains how and why neoliberalism adopted the racist agenda common to the populist right of today
SYLVIA HIKINS recommends a sweeping survey of the world's biggest desert and the people who live there
GUILLERMO THOMAS is persuaded by a scathing critique of the Church of England and its embeddedness in imperialism
MARIA DUARTE and ANGUS REID review Materialists, Unmoored, Together, and Bambi: A Tale of Life in The Woods
TONY BURKE revels in the publication of previously unreleased tracks by the great US folksinger
GORDON PARSONS endures heavy rock punctuated by Shakespeare, and a delighted audience
THE MENACE of the impending Trump presidency was reflected in the anxious soundscape created by many of the musicians at this year’s London Jazz Festival.
Tenor saxophonist Trish Clowes asked everyone at her free-stage Barbican performance to shake hands and hug each other in anti-Trump solidarity before she played her tune Blue Calm, while young pianist Elliot Galvin said it was “now very pertinent” to play Kurt Weill’s Mack the Knife, conjuring an aura of murderous dark forces at work as he did so.
And the diaphanous blues cadences of Are You Glad to Be in America? rang out from the slashing guitar of James Blood Ulmer at Rich Mix.
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