Anthems for doomed youth.
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.
It's a case of knee jerk by proxy, says Nicholas Lezard.
The Manic Street Preachers talk to Dorian Lynskey about meeting Castro, losing faith in politics and why Europe is a “unified art movement”.
So-called “seasoned theatregoers” have complained about the audience clapping during Martin Freeman’s West End appearance as Richard III, in what is nothing more than a display of blatant snobbery.
While it’s generous and sensible to give the fans what they want, the familiarity of the material starts to feel weird.
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.
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.
These shows can be harsh and cruel, but they are merely a microcosm of the world – a swift introduction to the realities of a career as a performer.
Bruce Springsteen's 1984 album Born in the USA is 30 years old this week. It has been the soundtrack to Max Liu's life, from the end of his parents' marriage to the beginning of his own.
Mark Ellen changed the face of music magazines with Smash Hits, Q, Select, Mojo and finally The Word. His memoir is as “hectic, self-deprecating, quietly perceptive” as the man himself.
Cosplayers – particularly women – report being insulted, groped or harassed at conventions. How did this happen in a community that prides itself on friendliness and cooperation?
Sad news as an American literary icon passes away.
New production Queen of the Night – backed by the same producer as Punchdrunk’s wildy popular immersive theatre experience Sleep No More – seems entirely predicated on the notion that spectacle, and spectacle alone, is what audiences want.
By the mid-1980s, Dylan had long been playing down the notion that he was the “voice of a generation”. Such strategies failed in the long run.
From acid social satire to romance, the new season at Glyndebourne has something to offer those willing to go beyond mere appearances.
Henry VIII didn’t have to execute his second wife to be rid of her – retirement abroad or into a convent was customary for rejected queens. So why did he choose to send for the swordsman?
From Larkin’s diaries being burnt to the refusal to acknowledge forgotten Jackson Pollocks, literary and art executors run a tight ship.
A Letter Home was recorded in a Voice-O-Graph booth in Jack White’s “novelties lounge”. With cover songs and lo-fi crackles, it is an object study in the pros and cons of retro audio porn.