GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Nitzer Ebb
Nitzer Ebb's sound, which captured the zeitgeist of ’80s British counterculture, is as relevant as a commentary on today’s strong-arming superpowers as it was then, finds WILL STONE
Frontman Douglas McCarthy
[Raul (Dino) Rio/cc]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
NITZER EBB
Lafayette, London
FRESH from a gig in Warsaw, industrial legends Nitzer Ebb would have been a bizarrely apt act to see in the Polish capital, a country that neighbours war-torn Ukraine.
As if to prove the point, sartorially conscious frontman Douglas McCarthy strides onto the stage — not removing his trademark aviators for the entire set — to launch into a thunderous rendition of Blood Money to the thump, thump, thump of programmer Vaughan “Bon” Harris’s drum pad.
Shouting his lyrics (he doesn’t sing), McCarthy is quite the stage presence as he dances, struts and shakes his hips to every tune, delivering three more from second album, 1989’s Belief — For You, Captivate and Hearts And Minds.
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