Lindsey Buckingham, at 72, still has cheekbones that cast shadows. He has the upright shock of hair, too, though now it makes him look less like the kohl-eyed pop god of 1980 and more like Malcolm Gladwell’s cooler, angrier brother. He still has fire, too. A couple of solo renditions of Fleetwood Mac songs won
Few forms of music have colonised the world like metal and hip-hop. Wherever you go you will find these two alchemising with local genres. A few years back, I took a trip to Kathmandu to visit a Nepali festival, where I saw bands from all over south Asia blasting through the beats, and in the
Let me introduce you to the two poles in pop and rock. One is marked by authenticity, musicianship, a certain traditionalism. This is the pole that in critics’ discourse is called ‘rockism’ – the assumption that rock (or, at least, real people playing real instruments) is the normative state of music. The other is artificiality,
One learns the strangest things at festivals. That, for instance, this summer has been a bit of a blackcurrant disaster in the UK because the extreme heat caused all the different varieties to ripen at the same time and fall from the bushes before they could be properly harvested. That fact came from a retired
The greatest pleasure of writing about pop music – even more than the free tickets and records, nice as they are – is seeing some tiny, as yet unnoticed act and being dazzled by them, then taking every chance you can to wang on about them until other people start to feel the same. Music
One of the biggest talking points in pop these past couple of years has been how successful old musicians have become at making money. Swathes of stars have simply auctioned off their past: rather than collecting the royalties on their publishing and their recordings year by year, they have just sold the whole lot. Last
At the turn of this century, looking back on the late 1980s when the Pet Shop Boys could do no wrong and everything they touched turned to platinum, Neil Tennant coined the concept of a musician’s ‘imperial phase’. You can be hugely popular at other times in your career – you can sell just as
Every so often, Jason Pierce drifts into focus. It happened at the end of the 1980s, when his then group Spacemen 3 (motto: ‘Taking drugs to make music to take drugs to’) suddenly and briefly went from being those weirdos from Rugby to one of the defining groups of English alternative rock thanks to their
Dua Lipa’s second album, Future Nostalgia, was released at the least promising moment possible: 27 March 2020, the day after the first lockdown came into force in the UK. Just as a pandemic swept the world, she was releasing a maximalist pop album that, surely, was designed for the communal experiences no one was having.
You don’t need to be a historian of pop to realise that having been part of a huge manufactured group is no guarantee of subsequent success. Most boy and girl band stars, after a brief flurry of passion, are forced to descend into the netherworld of panto, reality TV, and ever-diminishing returns from the actual
Stormzy occupies a curious place in British pop culture right now. He’s the darling of liberals for all his good deeds – setting up an imprint for black writers within Penguin, and a charity to put black kids through Cambridge. He’s also the figurehead of UK hip hop, which at times has made him a
It took a moment to realise Keeley Forsyth was there. There were already three musicians, faint figures on a dark stage, wreathed in dry ice. And then, to their side, one became aware of a patch of darkness that was a little darker than the rest, and which seemed to be moving. Even when she
One of the curiosities of modern pop’s landscape is that no one knows any longer how to measure success. An artist can be a huge live draw, but make no impact on the charts; they can be consistent chart-toppers but minnows among the streamers; they can stream by the bazillion, but have no live following
Even leaving aside its origins as prison slang, punk has always meant different things on either side of the Atlantic. Forty-five years ago, in New York, no punk band sounded like the next one: the only thing that linked Ramones, Talking Heads, Patti Smith, Suicide, Blondie and Television was that they played the same club,
The single thing you don’t want when you are beginning a run of four shows in a prestige venue, with reviewers out in force, is for it all to go tits up at the start. Which is precisely what happened to Idles as they opened their Brixton run. On came the band, up started the
When I were a lad — back when you could buy the entire back catalogue of the Fall for thruppence and still have change to get into a New Order show on the way home — record labels mattered. Well, a cohort of independent labels mattered, because their imprints stood for something. There was Creation,
No musician ever went bust overestimating the public desire to hear classic soul. Slapping on a Motown backbeat has revived many a career and made many a star. At the simplest level, what wedding band are you going to hire: the one playing note-for-note recreations of acid-rock wig-outs from 1968, or the one playing note-for-note
The bigger the next big thing, the smaller the room you want them playing in. You want the people who got inside to be thankful they made it in (not least because the more exclusive the show, the more hysterical the tweets afterwards: ‘You plebs couldn’t get a ticket, but I saw the very future
Many of us who grew up loving the Smiths have rather shelved that affection in recent years. Many of us, being lily-livered liberals, have rather taken against Morrissey’s politics and his public support for the far-right For Britain party. Even those inclined to agree with him might have tired of his unrelenting self-pity and his
The single most boring and pointless thing that is ever said about rock and pop — and it always comes from the Campaign For Real Rock brigade, with their alphabetised vinyl and back copies of Mojo — is that it should be ‘all about the music’. It is never, of course, all about the music,
