Graeme Thomson

Joan Wasser is New York loud. Her resting register is CAPS LOCK, rising to flashing neon when roused to laughter or, occasionally, indignation. ‘I was born a very expressive person,’ says the singer. ‘I was always talking to people in the street that I didn’t know. I’m not super afraid of expressing how I feel,

Nick Cave has always been drawn to parable and fable, but more than ever these days he is engaged in the necessary work of mining magic from the base metal of day-to-day existence. The key lines in this show came early, during ‘Bright Horses’: ‘We’re all so sick and tired of seeing things as they

As August unwound, the EIF settled into the cavernous gazebo that is Edinburgh Park, and things began to loosen up. First there was an outbreak of vigorous clog dancing — more on which later. This escalated within 48 hours to a polite mini stampede from our designated seats towards the front of the stage at

When Trojan Records attempted to break into the United States music market in the early 1970s, it hit an insurmountable barrier: the company shared its name with America’s most popular brand of condom. ‘It was a case of commercial coitus interruptus,’ says Rob Bell, at the time the label’s production manager. In America, Trojan signified

‘The records are only half of the picture,’ says Irmin Schmidt, founder member of the great German experimental collective Can. ‘Live [performance] is the side of ours which actually has still to be discovered. For many of the people who came to our concerts, it was much more important in building up the legend than

Over the decades, Van Morrison’s role within the tower of song has shifted from chief visionary officer to head of complaints. It’s not a promotion. The title track of his new album, Latest Record Project, Volume 1, is a rebuke to those who insist on living in an artist’s past rather than his present. A

It has never been easy for women in the music industry. Once upon a time the evidence was largely anecdotal. Now it’s being recorded for posterity, frame by frame. Recent documentaries about Britney Spears and Demi Lovato exposed the trauma inflicted on post-millennial pop stars. Two new portraits of Anna Mae Bullock and Marianne Elliott-Said,

May the gods of Hiss and Compression bless Lou Ottens. As head of new product development at Phillips, the Dutch engineer invented the compact cassette in 1963 and changed music for ever. Ottens died last week at 94. A good age, and a good number. You could get a full album on each side. For

The thing to remember about Chet Baker, an old acquaintance says of the errant jazz musician in Deep In A Dream, James Gavin’s exemplary 2002 biography of Baker, is that ‘he can hurt people even after he’s dead’. Baker could be dangerous but mostly he hurt himself. He died, squalidly, in 1988, and his music,

Steve Diggle hasn’t spent this long away from a stage in 40-odd years. For the Buzzcocks guitarist, like everyone else, 2020 was a year of thwarted plans. Instead of touring Britain and America, Diggle spent the year in ‘self-analysis’ and writing a new album. What else for an ageing punk to do? Except, of course,

Q: ‘How would you define transcendence?’ A: ‘Well, how would you define it?’ I interviewed Van Morrison last year. (I’m fine now, thanks.) While the exercise wasn’t quite the near-death experience of industry legend — he was polite and accommodating, if not always exactly forthcoming — it got sticky at times, as the above exchange

The Glastonbury festival has undergone a series of metamorphoses in the 31 years since I first attended as a 15-year-old fence hopper (as, indeed, have I, thank heavens). One of the most significant changes, to pillage Gil Scott-Heron’s famous prophecy, is that the evolution has been televised. Back in 1989, if your boots weren’t on

In 1992 Prince released a single called ‘My Name Is Prince’. On first hearing it seemed appropriately regal. Cocky, even. Only in hindsight did it appear somewhat needy, a litany not of what Prince was going to do, but of the things he had already done. On it, he pulled rank on his status —

Only two of the Beatles’ pop contemporaries are depicted on the cover of Sgt. Pepper’s Lonely Hearts Club Band. One is Bob Dylan. The other is Dion DiMucci. In a pleasing third-act twist, Dylan contributes the liner notes to Dion’s new album Blues With Friends — an act of deference that the recipient is still

Glenn Gould considered audiences ‘a force of evil’. ‘Not in their individual segments but en masse, I detest audiences.’ He retired from public performance on 10 April 1964, at the age of 31, having given fewer than 200 public recitals. The Canadian classical pianist had longstanding philosophical objections to the ritual of performing live. He