The musician's vulnerability and acute individualism made him hard to pigeonhole but ensured endless media fascination.
Music is taught at the majority of schools in the country, yet we still think that learning about the social and cultural context of music is the same as playing an instrument.
Comment pieces would have you believe that protest music is dead. Matthew Collin's front-line dispatches prove otherwise.
Despite good intentions, Ryan Adams’s 1989 has enabled dozens of music journalists to mansplain Taylor Swift’s own album to her.
Dinner With Saddam and Hangmen dare to put real people, and ideology, into their brands of dark farce.
In this episode of the New Statesman’s pop culture podcast, the past haunts the present: we talk about new film 45 Years, the This Is England series and The Rolling Stones Rock and Roll Circus.
From kids playing at their first Fleadh Cheoil na h-Éireann to the uncelebrated session musicians of decades past.
Matthew Warchus’s first production at the Old Vic feels like a declaration of intent – but does it stand up?
Singing (or not singing) the national anthem has long been a political battleground, with a history that stretches back to the Chartists and beyond.
Roland Link's Love in Vain: the Story of the Ruts and Ruts DC reveals the band's eclectic roots.
Against a big, blowsy set, Benedict Cumberbatch delivers a deliberately un-starry performance (shame about the slow-mo).
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