post-punk
Britain’s loveliest, most thoughtful festival
The last weekend of August is my favourite of the year. That’s when I pootle down to Cranborne Chase to…
Compelling: Little Simz’s Lotus reviewed
It is not uncommon for (predominantly male) music critics to invert the ‘great man/great woman’ dictum in order to suggest…
The world is on fire – yet navel-gazing still reigns in pop
There is no better cultural weather vane than pop. It’s not that pop singers possess incredible analytical skills – they…
Ten times better than Taylor Swift: Romance, by Fontaines D.C., reviewed
Grade: B+ Almost all modern popular music is afflicted by a desperate yearning for importance, and thus – as it…
Triumphant: Big Thief, at Green Man, reviewed
One of the first things I learned after seeing Big Thief triumph at Green Man is that some long-time fans…
Back to black
Michael Hann on the most enduring of pop subcultures
Black Country, New Road: Ants From Up There
Grade: A+ It is not true, fellow boomers, that there is nothing new under the sun nor no good new…
Live and kicking
There is a reason music writers tend to stick with music writing rather than transferring their manifold talents to the…
The fascinating Ms Swift
There had been some question about whether Taylor Swift’s Netflix special would actually appear. Last year it seemed that the…
The most exciting band I have seen for years and years: the Murder Capital reviewed
It’s entirely possible for a band to be quite the most brilliant thing in existence for the briefest of times,…
Why I’m done with Fleetwood Mac
There is something inexplicably exciting about pop’s notion of a ‘scene’: young musicians of similar outlooks drawn together by a…
LCD Soundsystem: American Dream
Grade: B+ Number one. Everywhere, just about. You have to say that the man has a certain sureness of touch.…
Psycho thriller
I had a fair idea of what I was in for when I went to see The Fall at Brixton’s…



















