John Wilson has little time for people who don't see the genius at work in so-called "light music".
A rising star in Nigeria, frustrated at the fading news coverage of Boko Haram's abduction of more than 200 schoolgirls, has offered up her virginity.
With their backcombed hair, dreads, tutus, ripped tights and Doc Martens, the Slits were the most anarchic and badly behaved band on the “White Riot” tour.
The singer’s new album is a sad indictment of post-feminism – a culture in which women may achieve what they are told to and still feel brutally unhappy.
China is obsessed with Sherlock, Iran loves Top Gear and Azerbaijan has its own Anne Robinson. But these shows are worth much more than money, writes James Medd.
Alexandra Coghlan reviews Jonathan Kent’s new production of Manon Lescaut at the Royal Opera House and Shadwell Opera’s In The Penal Colony at the Arts Theatre.
Classical music perhaps wouldn’t be everyone’s medium of choice to shout about issues, ideas and beliefs but two recent events made a strong case for why it should be.
Until state-funded arts organisations like the Royal Opera House can advertise their work to people who don’t already love their art form, they will never attract broader audiences.
Gary Barlow’s been quietly ditched. The Monty Python members have mobilised. Lily Allen is ubiquitous. The late Rik Mayall takes his last stand. Here are the best and the rest of England’s options for its World Cup anthem.
It's time for gigs to take women's safety seriously, in a world where audience members and performers are routinely assaulted.
In musical terms, the second album is a crucial test. For 27-year-old Polly Stenham, it is her fourth play, Hotel, which opens this week at the National Theatre, that will make or break her career.
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