Music

Thursday

The Spectator

This month in culture: January 2025

Wallace and Gromit: Vengeance Most Fowl January 3, Netflix The panic that gripped the McMorris household in November 2023 was rivaled by that of the great toilet paper shortage of 2020. Greater even, for this crisis could not be solved with a credit card and the willingness to fight hand-to-hand against fellow Costco members. Aardman Animations, the last bearable producer of children’s entertainment, was running out of clay. The sole remaining British factory that produced the stuff behind Wallace and Gromit and Shaun the Sheep had shuttered. Only a pitchfork would suffice. The advent of CGI has fried parental eyeballs with neon ever since Toy Story and only Aardman has resisted the trend, delivering us stop-motion Stan and Ollie routines.

culture

Thursday

John Sturgis

Were Boney M the weirdest pop act of all time?

From our UK edition

For a spell in the late 1970s there were two pop groups which dominated the UK singles charts – both, coincidentally, vocal quartets from continental northern Europe. But while one, Abba, have since become a billion-pound industry with an apparently permanent hologram-shaped presence on the London concert scene, their then rivals for pop supremacy, Boney M, have almost completely disappeared from public consciousness. And this is a shame because Boney M remain uniquely noteworthy in one field in particular: weirdness.  There are other contenders: Little Richard, the Sweet, Village People, the KLF.

Thursday

Rory Sutherland and Rick Rubin

‘Judgment is the price of being creative’

From our UK edition

Rick Rubin is a legendary American record producer who co-founded Def Jam records, which helped popularise hip hop. He has worked with everyone from Johnny Cash (whose career he is credited with reviving) to Paul McCartney and Kanye West. He sat down with The Spectator’s Rory Sutherland to discuss creativity, Bach, Sherlock Holmes, JFK assassination theories and more. RORY SUTHERLAND: It’s a huge pleasure to see you again. Just for the benefit of older Spectator readers, it’s probably worth defining what a music producer does because it’s ambiguous. People might imagine someone sitting there, adjusting the levels on one of those enormous mixing decks. In fact you never touch any of that stuff. You don’t really play an instrument. And you don’t read music. (No shame in that.

Andrew Lambirth

The otherworldly artist who made his name at The Spectator

From our UK edition

There is something otherworldly about Rory McEwen’s paintings of plants, leaves and fruit. They are indisputably beautiful, often breathtakingly so, but they are almost eerie in their self-possession. They are like planets vibrating to the music of the spheres – quivering with arrested energy. These images are super-real (rather than surreal) but they sometimes have a surreal edge that can be disturbing. ‘I paint flowers as a way of getting as close as possible to what I perceive as the truth’ Although best known for painting these botanical watercolours on vellum, Mc-Ewen (1932–82) was a man of many parts: an extraordinarily talented figure, a poet and broadcaster, a folk and blues musician as well as, for many, the greatest botanical painter of the past hundred years.

Monday

Rob Crossan

A middle-aged man’s guide to ageing gracefully

From our UK edition

Middle-aged men might be feeling persecuted at the moment. But we bring so much of the opprobrium upon ourselves. The MasterChef host Gregg Wallace has, it should be remembered, not been charged with any crime. But the allegations of his inappropriate, predatory and downright cringe-worthy behaviour towards women have inspired the kind of reaction among my male colleagues and friends that I haven’t heard the likes of since the arrival of David Brent and The Office some 20-plus years ago. Nobody finds your Tommy Cooper impression funny because the only other person old enough to remember Tommy Cooper is outside hectoring a stranger about the smoking ban ‘You don’t understand, Rob,’ said the editor of the magazine I worked for at the time.

Saturday

Alexandra Coghlan

Cello explains how music helped escape a certain death at Auschwitz

Bees and mammoth bones, a shipwreck, horse urine (preferably female), a seventeenth-century craftsman and a twentieth-century genocide. Playing an extended narrative game of Only Connect in her latest book, the musicologist Kate Kennedy takes a bird’s-eye view of four lives and five centuries as she turns her own instrument, the cello, into a prism. Part history, biography and auto-biography, with digressions into anthropology, acoustics and aesthetics and an intriguing cast of characters, Cello sings richly. But you have to be willing to lgo on the journey. Has publishing reached peak personality-stakes?

cello

Thursday

Andrew Pierce

The Westminster Wag to watch

From our UK edition

Surely charity is about helping others, not massaging your own ego? Ed Sheeran’s boycott of Band Aid is yet another example of putting virtue-signalling above doing actual good. I thought of delicate petal Ed when I was asked to join some media friends to record a cover version of ‘All You Need Is Love’ to raise money for Great Ormond Street Hospital, which is building a children’s cancer centre. Our group – shamelessly called The Celebs – included Christopher Biggins, Frank Bruno, Anne Hegerty, the terrifying star of the quiz show The Chase, and a clutch of actors. It was my first time singing in public since I leapt to my feet, aged 12, to lead a singsong at the end of Ramsgate pier on a family summer holiday. The pianist passed a hat round which raised £3.

Wednesday

Matthew Parris

Do you like the century you’re in?

From our UK edition

Years ago Lord Patten of Barnes – Chris – was our guest for my Great Lives programme on BBC Radio 4. He championed the life of Pope John XXIII, a mid-20th-century pope from humble origins who (his admirers would say) did much to bring the Roman Catholic Church into the 20th century. He had his detractors too, Evelyn Waugh for instance: ‘Easter used to mean so much to me before Pope John and his council… I have not yet soaked myself in petrol and gone up in flames, but I now cling to the faith doggedly without joy.’ The muscle memory of today’s pop-musical taste is half a century long I leave Catholic culture wars to Catholics, mentioning this recording only for a remark of Patten’s that struck a chord with me.

Monday

Saffron Swire

How music can be weaponized

A noise booms from a downtown district of Kyiv. It’s not the screech of a piercing siren or a building collapsing into rubble but the pumping beat of electronica. Throughout the deafening clamor of the Russia-Ukraine war, Gasoline Radio has kept broadcasting, mixing contemporary electronic music with traditional folk to fortify Ukrainian national identity. Whether pumped out by electronica DJs, violinists playing for families in shelters or singers performing in the shelled-out carcasses of cities, all is far from quiet on the cultural front of Ukraine. Wherever there is oppression, there is resistance, and music has long been a weapon for these war-weary civilians.

Rebel
Sphere
Rich Cromwell

A far out weekend at the Vegas Sphere

We were somewhere around the Palazzo when the drugs began to take hold. Unlike Hunter S. Thompson, though, we were surrounded not by imaginary bats but an amiable crowd of agèd hippies. Our destination was the Las Vegas Sphere, to hear Dead & Company. The venue itself eschews the definite article, but it’s futile. No one says they’re going to Sphere. It’s too much of a destination. It needs the definite article. Security was rather lax, though the price of tickets plus the age of the average attendee greatly lessened the chances of anyone showing up with mayhem on his mind. After going through a metal detector, where we are instructed not to empty our pockets, we headed up the stairs to find our seats.

Tuesday

James Innes-Smith

Punk may be dead, but the Sex Pistols aren’t

From our UK edition

Pull those ripped tartan trews on lads, the Sex Pistols are back! Well, kind of. Lead singer John Joseph Lydon, aka ‘Rotten’, is livid that the other three surviving members have decided to perform a couple of charity gigs without his consent. Really? Punks doing charity gigs? Sid Vicious must be turning in his Pennsylvanian grave. A throng of balding 67-year-olds were pogoing to ‘God Save the King’ while hurling £8 pints of lager at each other The feud goes back to the mid-1970s when Lydon, in typical muso style, vowed to stay true to the music while the other layabouts were more inclined to milk the legacy for all it was worth. More recently, he tried to prevent the band’s music from being used in a TV series directed by Danny Boyle.

Thursday

Michael Hann

My night with the worst kind of nostalgia 

From our UK edition

American Football are a band whose legend was formed by the internet: some Illinois college kids who made an album for a little label in 1999, went their separate ways, and in their absence found that a huge number of people had responded to their music. They duly reunited in 2014. They are often identified as emo, the most confounding of all genre names, given it means everything and nothing, but American Football are not of the eyeliner and dyed-hair variety exemplified by My Chemical Romance, nor the angsty pop-punk variant of Weezer or Jimmy Eat World, nor the shouty hardcore punk evolution of the genre’s founders in the 1980s.

Damian Thompson

Manacorda’s thrills and spills at Prom 72

From our UK edition

At a Hollywood party in the 1940s, the garrulous socialite Elsa Maxwell spotted Arnold Schoenberg, then teaching music at UCLA, looking miserable. So she pushed him towards the piano with the words: ‘Come on, Professor, give us a tune!’ I couldn’t help thinking of those words on Friday night, when we heard the first Proms performance of a symphony written in 1847 by a professor at the Paris Conservatoire. The Third Symphony of Louise Farrenc is full of well-crafted melodic lines, neatly configured to fit maddeningly predictable textbook chord progressions. It’s delicately orchestrated, but even the feathery flutes of the Orchestra of the Age of Enlightenment couldn’t disguise the professor’s failure to give us a single memorable tune. This is not a popular opinion.

Rod Liddle

Ten times better than Taylor Swift: Romance, by Fontaines D.C., reviewed

From our UK edition

Grade: B+ Almost all modern popular music is afflicted by a desperate yearning for importance, and thus – as it translates these days – electronic bombast, which is of course available now at the flick of a switch in the studio. The song is not enough, nowhere near enough. What you need, to elevate your infantile and asinine observations of the world and your sad lack of a good choon, is confected importance. This has been increasingly true since about 1965, but never more so than now. The song is not enough? That’s because it’s not a very good song, kiddo. Write a good song and, you’ll find, marvellously, it really is enough. Dublin’s Fontaines D.C. are a good case in point.

Thursday

Philip Clark

Back to the birth of the Greenwich Village music scene

In 1961, the folk guitarist Barry Kornfeld moved back to Manhattan after spending a year in Boston. The Greenwich Village folk musicians he called friends, who before his trip to Boston had been enduring a hand-to-mouth existence, were now making a living playing their music in clubs along MacDougal Street — not necessarily “a good living,” Kornfeld noted, but certainly enough to get by. Kornfeld spotted another difference, too. Audiences at clubs weren’t merely clapping; they were snapping their fingers in appreciation, which felt like the hippest thing ever. Rolling Stone writer David Browne’s latest book, chronicling the history of Greenwich Village music, pivots around 1961.

Greenwich
Powell
Harry Cluff

Bud Powell should be a household name

Late one January night in 1945, a young black man stumbled drunkenly toward Broad Street Station in Philadelphia. He was exhausted after playing a long set in a grotty club half a mile away. The naturally nervous musician often used alcohol to settle his unbearable over-excitements and debilitating despairs. On this occasion he had one too many. His awkward gait caught the attention of two policemen. They went to shoo him away, but instead of escorting him peacefully along, something about the twenty-year-old vexed the pair and they began to bash him about the head repeatedly with their truncheons. When the seriousness of his injuries became apparent, after he’d been slung into a frozen cell, he was taken to a hospital to recuperate.

Martin Vander Weyer

Don’t look back in anger… it’s just how ticket sales work

From our UK edition

We expect Ryanair tickets to cost more on holiday Saturdays than term-time Tuesdays and Uber fares to surge in the rush hour. When bidders drive an Old Master painting into the millions, we praise the skill of the auctioneer. And of course dynamic prices can go down as well as up. These are market mechanisms to match supply and demand, recognising that some buyers will pay more than others for desirable scarce goods. So why the hoo-hah about ticket prices for Oasis’s reunion tour, which doubled as supply dwindled for those towards the end of the online queue? Labour ministers, Brussels bureaucrats and US justice officials have all declared that the Ticketmaster sales platform needs looking into, while commentators agree that any such offer should at least be fully transparent.

Monday

Bill Kauffman

Back to 1984 with Robert Dean Lurie

Robert Dean Lurie, who had written very good books on worthy rock music subjects (REM, David Bowie and the Church), sure picked the right year — 2020 — to slip into a time machine. Instead of finding Morlocks and Eloi, as H.G. Wells’s time traveler did, this married father of two in Tempe, Arizona, encountered Walter Mondale and Night Ranger — and he lived to tell his entertainingly perceptive tale. Lurie explains, “In 2019, I had a premonition that 2020 was going to suck. So I decided to spend the year re-experiencing my favorite year from my [Minneapolis] childhood: 1984.

Lurie

Tuesday

Alexandra Coghlan

Saved from certain death at Auschwitz – by playing the cello

From our UK edition

Bees and mammoth bones, a shipwreck, horse urine (preferably female), a 17th-century craftsman and a 20th-century genocide. Playing an extended narrative game of Only Connect in her latest book, the musicologist Kate Kennedy takes a bird’s-eye view of four lives and five centuries as she turns her own instrument, the cello, into a prism. Part history, biography and auto-biography, with digressions into anthropology, acoustics and aesthetics and an intriguing cast of characters, Cello sings richly. But you have to be willing to go on the journey. Has publishing reached peak personality-stakes?

Thursday

James MacMillan

The mystery of teaching composition

From our UK edition

Summer study courses for young composers have been popular for a few generations. After the second world war, up-and-coming experimental composers started flocking to places like Darmstadt in Germany for the Internationale Ferienkursen für Neue Musik. Olivier Messiaen taught there in the late 1940s and 1950s, when among his students were Stockhausen and Boulez. Attending the 1980 course as an undergraduate, I benefitted from a lesson with Brian Ferneyhough and conversations with Wolfgang Rihm, who died last week and was described in one obituary as ‘the last great German composer’. In the US, the summer activities at places such as Tanglewood and Aspen have become part of the learning process for many young composers over the years.