JAMIE BRITTON recommends that we all buy at least two copies of a remarkable book of poems
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JAMES WALSH picks the best of the music
Away from the algorithms, it’s been a good year for music
The bard joins the Carnival Against Fascism, which summer fun sends him down Memory Lane
FIONA O’CONNOR is bowled over by a stunning Welsh language drama
MARIA DUARTE and MICHAL BONCZA review Virginia Woolf’s Night & Day, Familiar Touch, Nino, and Toy Story 5
MATTHEW HAWKINS explores the initiatives proposed by HEALING ARTS SCOTLAND
ALEX HALL welcomes an analysis of how modern capitalism is deeply intertwined with emotions, and their manipulation
WE ARE now in the era of Spotify Unwrapped. This is the zeitgeist of the streaming giant that encourages users to share which musicians they’ve not been giving their money to the most often over the past 12 months.
Out there, away from the algorithms, it’s been a good year.
The one overriding theme? Death, best encapsulated by Lisa O’Neill’s extraordinary album, All This Is Chance. Folk meets dirt meets cinematic doom, O’Neill’s singular voice manifests birds and dreams in February, the bleakest of months.
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