Music

Bankers and other assorted finance bros are an inescapable presence on the London nightlife scene. Industry, the British-made TV drama that follows a group of graduates on (and off) a City trading floor, begins its second series on BBC1 tonight and spares no detail of the drug-fuelled hedonism of its young bankers. One plot arc in the first series starts when the protagonist, exhausted after a long night on the powder, executes a trade in the wrong currency. Some in the field have protested that the on-screen excess is unrealistic. But much of it is apparently inspired by real-world experience. Mickey Down, one of Industry’s creators, spent just over a year working at Rothschild at the beginning of the 2010s.

For the finale of the #FreeBritney franchise, it seems that the 2000s Queen of Pop is to return to music. Recent reports have claimed that Britney Spears will be collaborating with Elton John on a song titled 'Hold Me Closer'. As exciting as this is, I can’t help but think that – seeing as her conservatorship was ended less than a year ago by a court ruling – she may be biting off more than she can chew. I question if she is truly ready to return to the inevitable pressure that comes with being in the public eye. I’m no therapist, but the treatment that Britney has endured over the past 14 years surely has to have lasting mental effects on the star’s health.

Beyoncé Knowles has always been sexy: naturally and consciously so. But her sexiness – those astonishing bottom-swooshing dance moves; the gleaming, undulating chest; the ever-changing, lustrous locks – sat alongside a moral substance that grew as her career progressed. She weighed in on politics, raising $4 million for Barack Obama and singing at his first inaugural ball. She weighed in on sexual morality, telling women in one of her most iconic songs that their man ought to, if he was to be taken seriously, ‘put a ring on it’. She is a committed Christian, having grown up in a Methodist household and frequently spoken of her faith.

Along with films about real life authors, poets, comedians and artists, biographies of musicians are notoriously difficult to translate successfully to the cinema screen. Why? Writing and painting aren’t inherently cinematic; live music has more visual potential (hence the greater number of motion pictures). But the challenges of lip-synching and the existence in most cases of plenty of original concert footage raise the stakes for any actor prepared to take on such a role. There's a real danger of performances falling into pastiche and mimicry. Directors face an even greater predicament when music rights are refused, as was the case with the recent Stardust (2021) where actor/musician Johnny Flynn had to come up with songs in the style of David Bowie.

Last week I went to The Hammersmith Apollo to see Ludovico Einaudi perform his new album Underwater. I hadn’t been to a concert since before the pandemic and had forgotten the thrill of live music. Recordings can never match the sensual and social experience of live performance. When listened to collectively,  music unmasks the soul – solitary emotions are suddenly shared – and it connects us to something greater than ourselves. Music is the medium I go to for comfort when life is not quite making sense Underwater is Einaudi’s first solo piano album in two decades, becoming the fastest streamed classical music album in history. High minded critics turn their noses up, calling his music ‘elementary’.