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 →

Drake: For All the Dogs review – repetitive rap titan needs new tricks

Dismal lyrics and wearying misogyny find too much airtime among the Canadian rapper’s most invigorating songs in years

Nines: Crop Circle 3 review – possible swansong for a UK rap great

On purportedly his last album, the London artist bows out with an eclectic mix of styles from reggae and trap to R&B and gospel, his gruff, easy flow sounding enticingly liberated

Doja Cat: Scarlet review – globe-conquering star comes out swinging at the stans

There’s a pugilistic force to the rapper’s lyricism as she takes on her diehard fans’ sense of entitlement, but even amid some experimental production, she starts to repeat herself

Diddy: The Love Album: Off the Grid review – rap megastar gets lost amid big-name return

Diddy’s productions remain imaginative across this 24-track album, but he gives us frustratingly little lyricism

Gaika: Drift review – the sonic shapeshifter goes analogue

The London MC disrupts expectations on his latest album, ranging from breakbeats and funk-soul to cinematic strings

Burna Boy: I Told Them review – Nigerian superstar punches closer to the mainstream

Eschewing the political controversies of his interviews, the Nigerian musician’s seventh album is streamlined, swaggering and rich with perfectly deployed vocal samples

Stormzy review – rapper’s bullish approach pays off with joyous performance

Slow lovelorn songs make way for a crowd-pleasing succession of hits that has the audience running to the stage

Noname: Sundial review – riveting rapper builds new ways of living

On her long-awaited album, the Chicago artist isn’t scared to spread around the culpability for discord, from white society to Beyoncé, Barack Obama – and herself

Pusha T review – the greatest snowman

The fiery former drug dealer turned US hip-hop star is a sharp, electrifying wordsmith who addresses friends, family and the finer things in life

Travis Scott: Utopia review – rap superstar gets lost amid sublime soundworld

Returning with a long-awaited fourth album in the wake of the Astroworld disaster, Scott’s rhyming isn’t strong enough to distinguish him from his A-list guests

Barbie: The Album review – a dream house of pop royalty gets all dolled up

Dua Lipa and Charli XCX bring high camp to this Mark Ronson-produced movie mixtape that climaxes with the sugary filth of Nicki Minaj and Ice Spice’s Barbie World

Paris Texas: Mid Air review – a blast of fresh air

LA duo Louie Pastel and Felix combine rap with left-field sounds and a punk-adjacent attitude on their full-length debut

JID review – swagger and soul from an emotive rap storyteller

The versatile US rapper directs the ebb and flow of the crowd in this energetic show of verbal dexterity and intimate narratives

J Hus: Beautiful and Brutal Yard review – still Britain’s most adaptable, charismatic MC

Back after three years away, the east Londoner is polarised between feelgood summer tracks and bleak reportage – but he makes it all cohere, despite some terrible sex puns

Big Freedia: Central City review – a mighty endorphin rush

After a feature on Beyoncé’s Break My Soul, the best-known name in bounce is back with an album of bass-laden beasts, star guests and surprisingly musical moments

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