Behind poster images of iconic black crusaders - from Nelson Mandela to Steve Biko - the township that is Catfish Row is revving up for another day. And such is the pumping dynamism of the Cape Town Opera ensemble that you can barely hear George Gershwin’s tumultuous xylophone-driven prelude for the hollering and whistling.
Blur last night debuted two new tracks in a live performance from a balcony at a secret London location.
It’s World Music Day and officially three weeks to Latitude! World Music Day or ‘Fete De La Musique’ is an international celebration of all things musical taking place in more than 110 countries and 403 cities around the world with hundreds of music acts taking part in numerous free performances and bringing music to the masses.
Theatre: I try to go to the theatre as much as possible. I saw 'The Ladykillers' at London's Gielgud Theatre, which was hilarious. The run has been extended because it has been so popular. It was some of the best stage acting I have seen, with a very clever set.
Business leaders of the future are tuning into Kiss frontman's billion-dollar brand lecture
Since the mighty Chavez Ravine, Ry Cooder's albums have struggled to reach equivalent heights, as if their themes – and with Cooder, there is always some over-arching theme – just didn't provide the fire-power required.
Almost unchallenged, the Louvin Brothers were the greatest brother act in country music and several of their songs, "When I Stop Dreaming", "The Christian Life" and "Cash on the Barrelhead", have been recorded by contemporary acts. "Being brothers really helped our harmonies," Charlie Louvin told me on a UK tour in 1988, "but I doubt if you could think of one brother act that grew old together. It just don't work."
Celebrating a decade of working with his trio partners, bassist Tarus Mateen and drummer Nasheet Waits, US pianist Jason Moran brings together an odd but satisfying jumble of influences and contexts.
Kings Go Forth are a Milwaukee retro-soul band with similarities to The Dap-Kings', but boasting a much more explosive, brash production style, with plenty of punchy Santana-like percussion, horn stabs and crisp drumming à la The Meters' Joseph "Zigaboo" Modeliste.
Rev Bazil Meade formed the London Community Gospel Choir 28 years ago and it is currently enjoying a golden period, riding a tide of enthusiasm for choral singing in general and big vocal harmonies in particular. This concert marked the release of the choir's tenth album, Glorious, numbers from which dominated an evening full of taut, spine-tingling vocal work.
Here's a charmingly old-fashioned thing: a personal pop-soul exegesis by a white woman with no apparent interest in being musically trendy.
Canadian bluesman Jim Byrnes cites the approach of the pre-blues "songster" tradition – in which the blues would be but one part of a repertoire that also encompassed gospel spirituals, country, folk and popular songs – as indicative of his intentions on his own albums.
Violin, accordion, mandolin, guitar, with viola/cello variants. Ultra-detailed arrangements. Lots of forward drive. No affect. It's folk music of a kind, rooted geographically in the English West Country, but not as you'd expect it to sound.
What the same label's Sharon Jones & the Dap-Kings did to revive classic soul, veteran vocalist Naomi Shelton and her team do here for gospel.
Rarely does a year go by without some new reconfiguration of Elvis Presley's back catalogue.