Heartbreak, Fabric and Brexit: the frontman of Britain’s chirpiest electropop band on why he’s started writing piano ballads.
A triumphant return to the Proms for the John Wilson Orchestra with the original 1948 version of Cole Porter's great musical.
A small Austrian town tucked almost against the Swiss and German borders on the magnificent Lake Constance, Bregenz has claimed a place on the cultural map.
Introducing her new column on fan culture for the NS, Elizabeth Minkel explains why 2014 feels like a turning point in the appreciation of how people who love something interact.
Two generations after their record sank without a trace, Donnie and Joe Emerson’s music has finally found the teenagers it was written for.
Feelgood gag-and-punchline stand-up is bigger than ever, but a certain stratum of comedians have already moved on to a place where the audience is laughing inside rather than out, or not at all.
Disciplined it might be, but military music is awful. Luckily, there's greater depth to this season than a first glance suggests.
Two of the standout London productions of this year are the scorching version of The Crucible at the Old Vic and the Young Vic’s brilliant rethinking of A View from the Bridge.
Bob Stanley takes a look at long-overdue rereleases for Crosby, Stills, Nash & Young and Frankie Valli and the Four Seasons.
Ireland is currently split between people who are mortally embarrassed by the cancellation farrago and those who declare it to be of the utmost importance. What is it with the Irish and country music?
As once estranged Libertines frontmen passionately reunite, they highlight the dearth of stormy musical partnerships in today’s music.
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