Culture Vulture: reviews round-up

The critics' verdicts on Helen Dunmore, Jim Crace and a biography of Syd Barrett.

Helen Dunmore, The Betrayal

Jane Shilling in the Telegraph describes Helen Dunmore's sequel to The Siege as a "lovely, thoughtful novel", which acts for readers of the novels precursor as chance to discover "the fates of the surviving members of the Levin family - Anna, her husband, Andrei, and younger brother, Kolya". She finds that "Dunmore's lyric gift is at its best when describing the domestic minutiae that seem so unspeakably precious in the absence of security", and that "Only when the horrors become real does Dunmore's power to disturb weaken."

For Lucy Daniel in the Sunday Telegraph, this novel is "not just an impressive, enthralling sequel but part of an ongoing saga of ordinary people struggling against a city's beautiful indifference, and clinging on for dear life", and an exercise in "personalising a collective experience of momentous times". Katy Guest in the Independent on Sunday describes Dunmore's prose as "sensuous, physical and almost synaesthetic ... also sparse and elegant when needs be", while her skill as a novelist is "brave, tender and with a unique gift for immersing the reader in the taste, smell and fear of a story." For Scarlett Thomas in the Financial Times, "This is such a page-turner, and is in places so gruesome, that reading it becomes more visceral than intellectual".

Jim Crace, All that Follows

Adam Lively in the Sunday Times describes Crace's new novel as "a book that for all its stylistic precision and intelligence is, as a whole, curiously half-hearted and out of kilter". Lively identifies the influence of other writers on this novel about an ageing jazz musician: Hari Kunzru, and "The real spectre that haunts the pages of All That Follows, however, is not a ghost from the past but Philip Roth. His influence is everywhere", so the novel "suffers from the sense of treading well-worn paths." Lively also finds that "the politics and the futuristic setting remain sketchy in the extreme."

By contrast, Giles Foden in the Guardian writes that "Crace has some satirical fun with this invented but not unlikely landscape", but he agrees that the novel is influenced by predecessors: "Crace isn't just nodding at Ian McEwan's Saturday. At other moments it is Don DeLillo who comes to mind, another writer who has been influenced by jazz and who has written about hostage-taking". He concludes that "Part of the book's attraction is its modesty, the way it gets big ideas down to a small domestic canvas on which individual emotions and family dynamics are authentically realised", and that "All That Follows is both thought-provoking and a delight to read." Ian Thomson in the Financial Times praises Crace's "spare but resonant prose", but finds it "more conventional" than his previous efforts.

Rob Chapman, Syd Barrett: A Very Irregular Head

Lynn Barber in the Sunday Times writes that "This is a book of two halves, one memorable, one not"; she elaborates: "It is the second half of the book, about the life of Roger Barrett, that is interesting, because we don't often read the life of a recluse." Barber suggests that this may be because writer "Rob Chapman had full co-operation from Barrett's sister Rosemary and other family members, whereas the Floyds refused to talk."

Sean O'Hagan in the Observer describes the book as a "fitfully illuminating biography", finding that "Chapman has unravelled the skeins of rumour, exaggeration and anecdote that have been wound so tightly around Barrett", although he agrees that the book "inevitably suffers from his absence - and that of Pink Floyd, all of whom declined to be interviewed for the book". He concludes: "If Chapman overstates the case for Barrett's songwriting genius and sometimes writes from the point of view of an obsessive on a mission to rehabilitate his hero, A Very Irregular Head is a consistently illuminating, and often surprising, read."

 

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Gig economy: apps offering a small-scale solution to the decline of the UK's music venues

Could bands and fans increasingly start swapping concert halls for strangers' living rooms?

Most up-and-coming musicians rely on live gigs to win new fans, but their ability to find somewhere to play is increasingly under threat. Earlier this month, Arts Council England rejected a funding bid from the Music Venue Trust (MVT), the primary charity looking after the country’s grassroots music venues.

After encouraging the MVT to apply for several grants, the Council ended up awarding 85 per cent of its £367m music budget to the opera and classical sectors. There is no more Arts Council funding available for the next four years, which means that countless grassroots venues in smaller towns and cities that rely on support from the MVT will be left out in the cold.

Music venues are already disappearing across the country. Since 2007, more than 430 live music venues in London alone have had to close down. The majority of these were small, local spots that buckled under rising rents, increasing business rates, and the constant threat of avaricious property developers.

Unsurprisingly, such a dramatic decline in the infrastructure supporting the country's music scene hurts emerging musicians, but it also runs the risk of undermining musical heritage. Places like the 100 Club in London – which in its heyday played host to The Clash, Sex Pistols and Rolling Stones – are at risk of shutting their doors permanently.

Spanning several generations and musical movements, these spaces have helped give popular music a central role in the city’s cultural history. They have also shaped bands that at the time were merely looking for a chance to escape their parents’ basement.

The picture appears gloomy, but a potential solution is on the horizon that taps into two things the millennial generation can’t seem to live without: apps and social media. The success of services such as Uber and Deliveroo has inspired music start-ups to apply digital savvy to this very physical problem.

One such start-up is Tigmus, a platform for artists to find venues that are both interesting and affordable, while connecting them with both venue owners and fans. Venues can include cafes, warehouses, and even people’s living rooms.

Tigmus veterans Catgod are a soul and trip-hop collective who relied heavily on the service while establishing themselves in Oxford. Robin Christensen-Marriott, the band’s manager, says Tigmus gigs were “a vital income for us to pay for our studio recordings, as Tigmus take a small cut of the takings, whereas other promoters generally will take more.”

The platform has also helped Catgod unlock “lots of interesting venues in our hometown as you can virtually book anywhere” – meaning the band “played some really poky, cosy venues ...that have been fun and sweaty”.

Tigmus is not the only start-up offering a more unusual way to cater to a smaller budget. Similarly, Sofar Sounds works as a go-between, however it also adds a bit of old-school secrecy to proceedings. An intimate and authentic experience is the company’s main concern – fans apply for tickets, and only when they get accepted does the secret address get released. This adds a layer of mystery to seeing live music.

These days, fanbases are birthed and sustained on social media, so the extra opportunity to publicise events and venues on Facebook or Twitter is part of the allure of these platforms. Both Tigmus and Sofar encourage performers, once booked, to plaster their events all over fans’ news feeds and timelines. This makes them an appealing option for a band just starting out and looking to make a name for themselves.

The development of platforms such as Tigmus and Sofar mirrors the digitisation of music more generally. Just as streaming services such as Spotify and Tidal sprung up in response to the threat of piracy, as digital music replaced vinyl and CDs, digital platforms are emerging to deal with the decline of traditional venues. Could bands and fans increasingly start swapping concert halls for a perch on a stranger’s sofa instead?