Music

Thursday

John Sturgis

Were Boney M the weirdest pop act of all time?

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.  But judged by the twin metrics of just how odd they were in tandem with quite how successful they

Thursday

Rory Sutherland and Rick Rubin

‘Judgment is the price of being creative’

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

Andrew Lambirth

The otherworldly artist who made his name at The Spectator

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

Monday

Rob Crossan

A middle-aged man’s guide to ageing gracefully

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,

Thursday

Andrew Pierce

The Westminster Wag to watch

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,

Wednesday

Matthew Parris

Do you like the century you’re in?

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

Tuesday

James Innes-Smith

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

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

Thursday

Michael Hann

My night with the worst kind of nostalgia 

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 Damian Thompson

Manacorda’s thrills and spills at Prom 72

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

Rod Liddle Rod Liddle

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 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

Thursday

Martin Vander Weyer

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

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

Tuesday

Alexandra Coghlan

Saved from certain death at Auschwitz – by playing the cello

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? Whether the subject is swimming or stamp-collecting, non-fiction seems wearyingly determined to rebrand itself as memoir, our author, also

Thursday

James MacMillan

The mystery of teaching composition

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

Thursday

Ivo Delingpole

Complain all you like but Glastonbury has delivered the goods again

There’s yet to be a Glastonbury line-up that hasn’t provoked a chorus of naysaying. Refrains like ‘looks rubbish. I wouldn’t go’ and ‘not like it used to be’ are de rigueur. Dismissing the headliners as ‘crap this year’ rivals football as the nation’s favourite sport. Yet there’s something to be said for trusting the Glastonbury bookers: check out, say, the lower-tier bands on the 1994 poster and see how many greats they discovered before they were famous – Radiohead, Pulp, Oasis… Nowhere else in the world could hand written signs for toilets induce a Proustian yearning to return Glastonbury’s prestige and legendary ‘vibe’ are now such that the festival is

Thursday

Michael Hann

‘Psychedelic folk that twists and leaps’: Beth Gibbons, at the Barbican, reviewed

A decade ago, a group of people who owned small music venues came to the conclusion that the kinds of places they ran were teetering on the brink of a catastrophic extinction event. And so they formed the Music Venue Trust, which has spent ten years kicking cans and shouting the odds about the need to preserve these places, about how they are the production lines from which the festival headliners of tomorrow come. A brilliant guitarist, a fascinating songwriter, St Vincent cycles sleekly through styles with utter assurance Quite right. Good, small venues are the best place to enjoy both live, loud, raucous music and intimate performances where the

Tuesday

Simon Ings

Sounds and sweet airs that give delight

Caspar Henderson writes beguiling books about the natural world, full of eyecatching detail and plangent commentary. His Book of Barely Imagined Beings: A 21st-century Bestiary came out in 2012. A Book of Noises is a worthy companion – a pursuit of auditory wonders, a paean to the act of listening and a salute to silence. Item: the music of the spheres. (The planets’ orbits, proving unideal and elliptical, suggested to the musically minded astronomer Johannes Kepler an appropriately sad, minor-keyed leitmotif for the Earth, where, he felt, misery and famine held sway’.) Item: the world’s loudest sound. (The asteroid Chicxulub that killed the dinosaurs 66 million years ago; also an

Tuesday

Alexandra Coghlan

Travels in Italy with the teenage Mozart

Between the ages of 13 and 17, Mozart made three trips to Italy, spending some two-and- a-half years in ‘the country at the heart of the opera world’. He would never return as an adult. His mature Italian operas – The Marriage of Figaro, Don Giovanni, Così fan tutte, La Clemenza di Tito – can be traced directly back to these formative teenage encounters and experiences in Bologna, Venice, Rome, Florence and Naples. So argues Jane Glover in Mozart in Italy. A follow-up to 2005’s Mozart’s Women, the book is a lively account of journeys which the composer shared (mostly) with his father Leopold. What dominates initially is the business

Tuesday

Joel Morris

Should vintage comedy be judged by today’s standards?

The British sense of humour is a source of power, soft and otherwise. The anthropologist Kate Fox observed that our national motto should be ‘Oh, come off it’, and a patriotic raised eyebrow has been cited as our chief defence against demagogues. We see ourselves through a comic lens, a nation of Delboys and Mainwarings, Brents and Leadbetters, Gavins and Staceys. But despite comedy being as central to British culture as music, books on it have few equivalents to Jon Savage’s England’s Dreaming (on punk), Rob Young’s Electric Eden (folk rock) or Simon Reynolds’s Energy Flash (rave). A nice fat volume about our national comic self-image by an astute music

Friday

Damian Reilly

I’m a middle-aged male Swiftie (and I don’t care who knows it)

I recently underwent a surgical procedure that according to the surgeon who performed it would cause either no discomfort at all or result in ‘exceptional pain’ for at least two weeks. No way to tell until I was on the operating table, apparently. She said this matter-of-factly, as if discussing bus routes, just as I was about to receive a general anaesthetic. As soon as I came to, I learned it was the latter. In the following days, bedbound and near-delirious with pain and medication, I listened to hour after hour of Taylor Swift. I didn’t want to hear anything else. I found her music, with its vast emotional depth

Wednesday

Philip Hensher

The changing face of the BBC Proms

There are two faces of the BBC Proms. The faces are somewhat at odds with each other. The one that everyone knows, whether they have an interest in music or not, is the Last Night of the Proms. It’s a concert consisting of a series of small musical items, or ‘lollipops’ as Sir Thomas Beecham used to call them. It culminates in a sequence of sea shanties, ‘Rule, Britannia’, ‘Land of Hope and Glory’ and ‘Jerusalem’. Classical music has gone from being a supreme cultural statement to just another curious musical genre The other face, much more substantial, is the series of concerts that precede that last one, from mid-July