Culture

Culture

The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.

Taylor Swift is fascinating – but you really wouldn’t want to be her

Pop

There had been some question about whether Taylor Swift’s Netflix special would actually appear. Last year it seemed that the ownership of her old songs by her previous record label would scupper it. But no, Ms Swift is not to be resisted, and lo, Miss Americana is available right now on Netflix, one of its two big music documentaries for the spring. Many older men seem to have a visceral distaste for Ms Swift. If you share that distaste, then I’m sorry, it’s your loss, because she’s a fascinating figure (who has also made three truly terrific albums in Fearless, Red and 1989), and Miss Americana is well worth watching.

The magic of Bryan Ferry

Pop

The accepted line about Bryan Ferry is that his is one of the greatest reinventions in English pop culture: Peter York said, in 1976, that his life was ‘the best possible example of the ultimate art-directed existence’. But watching him at the Albert Hall, I couldn’t help thinking of my father. That’s not to diminish the show — which was a lush and all-enveloping pleasure, like getting into bed in a very good hotel — but I couldn’t help wondering if there was actually something very specific about Ferry that tends to get ignored: his generation. He’s 74 now, though from a distance you might put him in his mid-fifties, especially in his beautifully cut suit.

Grimly compelling: The Whitney Houston Hologram Tour reviewed

Pop

‘No matter what they take from me,’ sang Whitney Houston towards the end of a peculiar evening in Hammersmith, ‘they can’t take away my dignity.’ You want a bet on that? Eight years after she died, here was Houston — in holographic form — treading the boards once more. In death, as in life, she continues to be an object for others to make money from.The Houston on stage was not, of course, the addict who crumpled towards the end of her life; nor the one who couldn’t hit the high notes of ‘I Will Always Love You’ on her final tours. It was the beautiful young woman with the staggering voice.

Dazzling and nonsensical in equal measure: Madonna at the London Palladium reviewed

Pop

You might have thought Madonna was not a singer but a professional footballer judging by the talk before she took to the stage at the Palladium last Wednesday night. She’d missed ten out of 93 appearances, and she’d been picking up the kind of niggling injuries — would her knees stand up to the strains of a long, hard season? How’s her hip? — associated with hard-running midfielders. Just as in the Premier League, there were gripes about ticket prices — go on Ticketmaster and they range from £69 to £511.50 (yes, there are tickets available throughout the run; you’ve got until 16 February to see her).

You have to be a terrific snob not to see the appeal of Slipknot

Pop

Every development in heavy music is derided by mainstream critics. When Black Sabbath and Led Zeppelin emerged in the late 1960s, they were sneered at for their lumpen, troglodyte stupidity. A decade on, AC/DC were reviled for precisely the same reasons. When Metallica and Slayer helped lead the thrash metal movement in the mid-1980s, it was at first only enthusiasts for extreme noise who cheered them on. The disdain never lasts. People who grew up listening to those bands became critics or editors or broadcasters or musicians, and each of them was absorbed seamlessly into the rock canon. That’s precisely what’s happened to the Iowa band Slipknot, too.