Freaky Party

Music Reviews and more

Main menu

Skip to primary content
Skip to secondary content
  • Pop/Rock
  • Metal
  • Indie
  • Electronic
  • Folk
  • Jazz
  • Classical

Post navigation

← Older posts
Newer posts →

The xx at Coachella review – indie trio reunites for spellbinding, rangy set

The English band’s first festival set in eight years hypnotized with their atmospheric dance sound

Sabrina Carpenter at Coachella review – madcap maximalism from pop savant

The pop star turned the desert into an ambitious theatrical revue with elaborate sets and celebrity cameos

Tori Amos review – fans hang on every note of this dramatic deep dive into her back catalogue

The masterful performer previews her allegorical new album about the ‘fight for democracy over tyranny’ amid a set full of immaculate musicianship

Reckonwrong: How Long Has It Been? review – wonky delight with shades of Arthur Russell and Robert Wyatt

Londoner Alex Peringer breaks from his intriguing and outlandish dance music with this debut album of charming bedroom-pop ballads

Holly Humberstone: Cruel World review – Taylor Swift fave trades gothic melancholy for pop glow-up

The British singer-songwriter replaces introspection with euphoric choruses, 80s synths and even happy hardcore on her vivid second LP

Reich: The Sextets album review – Colin Currie celebrates the minimalist master’s joy of six

The fourth Reich album for Currie’s specialist ensemble celebrates the composer’s precise patterns with an enjoyably chilled feel and plenty of dynamic niceties

Mahler Symphonies 1–9 album review – Bychkov’s set earns a place in a starry pantheon

Semyon Bychkov’s Mahler symphony cycle with the Czech Philharmonic is meticulous, imaginative and deserves to be placed alongside the very best sets

My New Band Believe review – beautiful ideas burst from ex-Black Midi man’s lovable debut album

Smoothing out the jump-cut chaos of his previous band, Cameron Picton brings entirely acoustic instrumentation to bear on these lovely, beguiling songs

Belle and Sebastian review – joyful anniversary tour makes debut album brighter than ever

On a tour playing Tigermilk and If You’re Feeling Sinister in full on alternate nights, Stuart Murdoch and co wittily reanimate their world of aesthetes and misfits

Suzi Quatro review – at 75, her signature scream is still thrilling

There is something eternally teenage about the trailblazing rocker, who can still deliver at her glam-era best – but her rambling reminiscences are a bit Alan Partridge

Pet Shop Boys review – no hits? No problem on first night of a masterful obscurities run

The era-defining duo’s ultras are suitably spoiled in the first of this intimate five-day run, showered with rarities that put a different spin on their well-known history

James review – special band still filling arenas with anthems of warmth and humanity

A talismanic Tim Booth is the pied-piper through a set that covers the five decades of this unique band’s beloved back catalogue alongside some fresh bangers

Shostakovich: Symphonies No 2 and 5 album review – early experiment meets mature power

Conductor John Storgårds pairs Shostakovich’s radical youthful 2nd symphony with the more assured 5th, in performances that emphasise clarity over drama

Messiah album review – Whelan takes Handel’s oratorio back to its beginnings

Conductor Peter Whelan leads a finely judged and agile period-instrument performance with only 13 singers.

Martha Argerich and Dong-Hyek Lim review – legendary pianist and mentee create musical magic

This thrilling and idiosyncratic concert moved from Mozart’s Sonata for Two Pianos to Rachmaninov, Ravel and Schumann

Post navigation

← Older posts
Newer posts →
  • Pelléas et Mélisande review – luminous semi-staging but Debussy’s elusive opera keeps its secrets
  • Olivia Rodrigo: You Seem Pretty Sad for a Girl So in Love review – who’s she singing about? Who cares when the songs are this good
  • Pussy Riot: CYKA review – debut album from iconic Russian agitators is let down by blunt-force EDM
  • Brown Wimpenny: Long Live Brown Wimpenny review – Manchester folk collective get bawdy and shambolic
  • Sally Beamish: House of Wonder album review – a musical shapeshifter celebrates 70 years
  • Katia and Marielle Labèque: 55 album review – a handsome tribute to the sisters’ musical curiosity and brilliance
  • The Mahler Experiment review – physical drama comes at a musical cost in choreographed symphony
  • Lola Young review – buoyant, brilliant return from British pop’s great oversharer
  • Kelsey Lu: So Help Me God review – strange, graceful songs drifting from pop’s edgelands
  • Danish String Quartet review – captivating performance from a world-class group
  • Manchester Camerata review – mental torments build up to a royal meltdown
  • The Marriage of Figaro review – Danielle de Niese’s deft direction weds finery with fun
  • St Vincent review – majestic orchestral transformations of jagged art-pop
  • BBCNOW/Bancroft review – conductor takes final bow in imaginative programme of vivid colours and emotions
  • Krishna review – the mystery of John Tavener’s ‘mystic pantomime’ is why it has been staged
  • Taylor Swift: I Knew It, I Knew You review – giddy up! Song for Toy Story cowgirl Jessie is Swift’s best in years
  • Zoh Amba: Eyes Full review – raw, rugged country rock also has real tenderness
  • Gintė Preisaitė: Instruments of Forgetting and the Singing Bone review – atmospheric, unsettling ambience
  • Hourglass album review – Simone Dinnerstein gives Glass room to breathe
  • Lizzo: Bitch review – a spirited star who just can’t rediscover her groove
  • Beethoven: The Violin Sonatas Vol 1 album review – fresh-as-a-daisy performances from a duo with a gift for storytelling
  • Mike D review – ex-Beastie Boy’s first UK gig in two decades, in a Tyneside bingo hall, is uproarious fun
  • Saint Levant review – Palestinian pop star makes Australian debut to an ecstatic, sold-out crowd
  • Vespers review – haunting clash of cultures conjures Vivaldi’s Venice
  • Jack White review – former White Stripe’s art is like a 12-year-old visiting Tate Modern for the first time
  • Lise Davidsen and James Baillieu review – superstar soprano unleashes her inner Valkyrie
  • Orlando review – a confident romp through Handel’s flimsily plotted opera
  • Take That review – stadium redux of Circus tour has maximal razzle-dazzle
  • Hampson and Sidorova review – style over substance with a whiff of the cruise ship
  • Matías Aguayo: Anenoa review – the funkiest, freest singer in the business hits the dancefloor

Contact www.freakyparty.net   Terms of Use