Austria has incited anti-gay and transphobic rhetoric in Russia by entering Conchita Wurst into Eurovision. Can she do for drag what Dana International did for trans people?
Robert Webb and Mark Heap take their turn at portraying P G Wodehouse’s beloved toff and his omniscient butler.
Stuart Maconie recalls the “real” Frank Sidebottom.
Twenty years ago, it felt like John Niven and his fellow indie kids had won pop's cold war. But then the madness set in.
Live opera is as physical as art gets, though you would never know that from sitting in any major opera house.
“This is too good. Will the pleasure never end?” asks Kate Mossman as she witnesses the endothermic showman Justin Timberlake in concert in Sheffield.
Jude Rogers talks to the pop princess about gay best friends, life after breast cancer and why she spent New Year alone.
British theatre is part of an industry that produces highly skilled practitioners but doesn’t always know how to use them. Except stereotypically.
Two new shows from English National Opera and the Royal Opera House might sound completely different, but each finds the still small voice of human truth hidden underneath the excess.
The deadline for Arts Council applications has just passed, and the funding outlook is looking bleaker than ever.
Peter Gill’s epic, often brilliant but finally unsatisfactory three-hour play about the 1919 peace conference.
Kate Mossman meets the riot mom and wife of Josh Homme, whose sound is a unique brand of domestic hardcore.
A year after the Britten centenary, David Alden’s Peter Grimes presents us with a society and a community irretrievably damaged, while the English Touring Opera’s King Priam is a domestic drama, hamstrung by matters of scale.
Orwell’s dystopian vision is convincingly staged but Abi Morgan’s latest is like a visit to Room 101.
Musicians and pundits need to get over their obsessive, nostalgic hero-worship. In 2014, David Bowie is irrelevant.
The singer and guitarist Martin Simpson on the BBC Radio 2 Folk Awards, Pete Seeger's politics and why Mumford & Sons "bemuse" him.
History may be written by the victors but Holten gives literature’s greatest loser, condemned again and again to hellfire, the opportunity to tell his tale.
If music is the food of love, here's your buffet and recipe book. Sam Ritchie from Sam & the Womp and Jerry David DeCicca talk to Yo Zushi in an effort to pin down what makes a great Valentine's lyric.
A big production for a big theatre.
Her songs offer the sense of a technicolour future stripped of all but the most worthwhile woes. It's time she stopped the silly pep talks in between and just got on with being a pop star.
Many generations of Steven Isserlis's family have been involved in making music, transported and shaped by opportunities to play. A celebrated cellist himself, he describes how closely music is connected to a happy family life.
How would you react if you discovered your music was being used to aid interrogations?
Music is one of China's most valuable cultural exports, and the Chinese government is hoping Ruhan Jia will be their first global pop hit.
Their performance of “Drunk In Love” at the Grammys was undoubtedly sultry, but why does it give the media licence to speculate about “what goes on” in the couple’s own home?
Alexandra Coghlan meets the Queen’s composer.
Jeremy Herrin's adaptation of Hilary Mantel's novels for the stage is a marvel, if a little overstuffed, with so much plot and counterplot there is little room left for anything else.
Handel did not praise his own works but there was one that he loved, Messiah, because in it he had redeemed himself.
Richard Strauss was wooed, rejected and then hounded by the Nazis. On his 150th anniversary, is his music finally free from the stigma?
Opera’s ultimate problem-child heroine returns to the Royal Opera House in a production somewhat lacking in warmth.
R'n'B stylings of classic holiday hits and Cockney staples.