Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Sinister fun as Tiger Lillies plunge into ballad bloodbath
Corrido de la Sangre
[Jonathan Keenan]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
Corrido de la Sangre
HOME, Manchester/Touring
COMMISSIONED by HOME as part of their Viva! Spanish and Latin American festival, the Tiger Lillies bring their macabre Day of the Dead operetta to Manchester.
The trio of minstrels have toured the world with their uniquely anarchic Brechtian street operas and, as their founder and band leader Martyn Jacques (pictured)boasts, “We will play songs about anything that doesn’t involve beautiful blonde girls and boys running in the meadow.”
Relishing the dark underbelly slithering beneath polite society, their repertoire revels in the world of drug dealers, murderers and prostitutes, where life is clouded in violence and despair, and in Corrido de la Sangre the band tells the story in song of vicious drug baron Don Hector.
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DAVID NICHOLSON is thrilled – and shocked – by an opera that seethes and sizzles with passion and the depraved use of power
A new release from Joachim Cooder, and re-releases from Miles Davis and Mountain
CHRIS SEARLE marvels at the improvising genius of an Irish harpist and a Dutch drummer, meeting for the first time
MARK TURNER gets over his discomfort that US cultural imperialism means we know more about US subcultures than our own