Reviews
To Whom Ourselves We Owe
Adam Weikert was directed towards folk music as a form of social prescribing – a chance to engage with a...
Reviewed by Olivia Cheves in issue: February/March/2026
NTU Futurism
L8 Antique have been winning converts on the Johannesburg circuit since the mid-2000s. Usually performing with just four people on...
Reviewed by Kwanele Sosibo in issue: May/2026
Accordion Samurai
Perhaps in response to endless gags about their instrument being anti-social — ‘a gentleman is a man who can play...
Reviewed by Julian May in issue: Nov/Dec/2011
Sketches of Africa
David Harrington of the Kronos Quartet once speculated on what Beethoven’s works might have sounded like if he’d been able...
Reviewed by Nigel Williamson in issue: Jan/Feb/2013
The Natural Selection Australian Songbook
Australia has a long tradition of bush bands: Ned Kelly-a-likes playing tunes from the Aussie folk songbook, an Irish-and-Scottish fuelled...
Reviewed by Jane Cornwell in issue: Aug/Sep/2016
Turn up the Quiet
Is it possible ever to tire of the Beatles back-catalogue? Unless you are a Brazilian (in whose country they are...
Reviewed by Alex Robinson in issue: June/2013
Al-Zarqa
While the Cairo-born musician Ali Khattab is described as a flamenco guitarist, it's better to think of him simply as...
Reviewed by Jan Fairley in issue: Nov/Dec/2011
Doce Milongas de Amor y un Tango Desesperado
Sometimes it’s hard to hear a song for the first time. That’s certainly the case for me with Delfina Cheb’s...
Reviewed by Chris Moss in issue: October/2020
Divine Liturgy
The Armenian composer Gomidas (1869-1935), usually transliterated as Komitas, is considered the father of Armenian music. While the conservatoire in...
Reviewed by Simon Broughton in issue: Apr/May/2012
From Here
Every couple of years or so, a really good punk band comes along to remind everyone what's really important: saying...
Reviewed by Matt Milton in issue: November/2015
