Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Latest editorial
Sowing musical chaos in the nicest possible way
Damo Suzuki
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
Damo Suzuki
Lexington, London
A SINGLE, drawn-out note, reverberating around the room, heralds the start of something and, as the sound builds, the small stage at London’s Lexington starts to fill.
The note from the keyboard player is joined by the beat of a drum, then a bass adds to the groove, before two more musicians on keys and a lead guitarist complete the mix, but it’s only when a sylph-like Damo Suzuki walks on stage that the room really rises.
Standing there as the maelstrom of music envelops him and his swirling grey hair, he launches into the first and perhaps what may be the only track, calling, cawing and getting an avid audience rapt and ready to rock out.
Similar stories
This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF
MIK SABIERS wallows in a night of political punk and funk that fires both barrels at Trump
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
CHRIS SEARLE wallows in an evening of high class improvised jazz, and recommends upcoming highlights in May