Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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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]
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
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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