1980s
Gary Naylor
Music plays a big part in the life of Dwight, an 11-year-old black lad growing up in early 80s Leeds. He doesn't fit in at school, bullied because he is "slow", and he doesn't fit in outside school, would-be friends losing patience with him.But he does fit in at home, loved unequivocally by a protective mother, somewhat enviously by a bickering sister, and rather reluctantly by a preoccupied father. Like the records he plays on the gramophone, his life is about to spin – and he'll have to hold on to the warmth of family love in a cold world.Zodwa Nyoni's new play for the Kiln Theatre packs Read more ...
Adam Sweeting
Renowned for an impressive body of work that includes This House, Quiz and Brexit: The Uncivil War, playwright and screenwriter James Graham has looked inwards and backwards for his new six-part series Sherwood.Set in a former mining community in Nottinghamshire, based on the author’s own home town, Sherwood (BBC One) charts a story of increasing violence and bitterness, based on real-life incidents that took place in the miners’ strike back in 1984.The historical background is evoked by newsreel footage from the Eighties of lines of police battling miners, and Prime Minister Margaret Read more ...
Thomas H. Green
Initially, the weird thing about this is it’s being released as a Neneh Cherry album rather than a compilation of artists doing Neneh Cherry covers, which is what it is. That said, awareness slowly grows of a kindred sensibility to recent Neneh Cherry output, the esoteric jazzual spirit that’s imbued her last couple of albums. The Versions is a crafted, mellow, late night affair containing material different enough from the originals to be interesting, even if it cannot top their cheeky hip hop-pop potency.Take the version of 1989 cut “Heart” by Los Angeles violinist-singer Sudan Archives, Read more ...
Thomas H. Green
One effect of the film I Get Knocked Down, a playfully constructed journey around the life of Chumbawamba vocalist Dunstan Bruce, is to remind that socio-political rage was once woven into the fabric of popular music. Old footage from the band’s Leeds squat, Southview House, in the early Eighties, shows one of them jovially composing a song called “Norman Fowler is a Shit-stain in Margaret Thatcher’s Underpants” on an acoustic guitar (Norman Fowler was Thatcher’s Secretary of State at the time). It’s funny and silly, but also made me long for the era when art-fury was a common cultural Read more ...
Harry Thorfinn-George
Soft Cell, the duo consisting of Marc Almond and Dave Ball, announced they were calling it quits in 2018. The two sold out shows at the 02 in London were supposed to be their swan song, waving goodbye to their Soft Cell days. But as their eponymous Eighties single hinted, waving goodbye is often paired with a hello. In 2020 they embarked on a nationwide tour, playing their classic 1981 album Non-Stop Erotic Cabaret in its entirety. This wasn’t just a nostalgia tour though. Brand new songs made it onto the setlist as well, like “Bruises On My Illusions”, “Heart Like Chernobyl “and “Nostalgia Read more ...
joe.muggs
This album starts with an unfortunate sound. Its title track begins with the kind of drum loop that rock bands from U2 on down adopted in the early 1990s having heard Massive Attack and Happy Mondays and deciding that they were going to get on the groovy train. It’s unfortunate because as with all those Nineties bands, it remains completely beholden to a very Eighties Big Rock production style with over-egged notions of “fidelity”. Every element is neat, tidy, separated, sparkling – completely missing the point of what dance and hip hop producers were doing by hacking the possibilities of Read more ...
Kathryn Reilly
When Soft Cell first caught the imagination of the nation it was a time of hope, opportunity and change. One of the first bands to bring technology to the top of the charts, they seemed to herald a new age after the grey years of the Seventies. They felt it too and they were also wrong. What colossal idiots we were, National Treasure Marc Almond confirms. Right from the start on this lockdown album – the first offering in nearly 20 years – in "Happy Happy" he lambasts how easily we swallowed the lies and followed the money. "Bruises on my Illusions" reiterates the point. Perhaps Read more ...
Kieron Tyler
“The Method” by The Method Actors was issued as the top side of a single in July 1981. Although recorded in London during September 1980 and only released by a British label, the band – a duo of guitar/vocals and drums/vocals – were from Athens, Georgia.It didn’t get much attention at the time but its wandering guitar figure, blurry, hard to parse vocals, splashy drums and unyielding forward motion bear a striking resemblance to the early R.E.M., whose first single “Radio Free Europe” was also in shops in July 1981. The shops where they came from – which also happened to be Georgia.Chicken Read more ...
Helen Hawkins
Ché Walker claims he wrote Wolf Cub, now in the Hampstead Downstairs studio space, in a two-day blitz prompted by Donald Trump’s election win in 2016. He was working in Atlanta at the time, the home city of Claire Latham, the solo performer for this piece. With Walker directing and the twice Olivier-winning actor Sheila Atim, no less, providing evocative incidental music, they have created a haunting 80-minute monologue that embraces epic events.The locus of the spasm the US was experiencing when Walker sat down to write Wolf Cub is traced back to Ronald Reagan’s two-term Read more ...
Thomas H. Green
“Play something we can dance to,” heckles a fan. “Fuck off, we are not a dance band,” fires back Wayne Hussey, leader of The Mission. He’s right. They’re not. But still there is dancing.One especially notable aspect of this gig is the total and vocal devotion of The Mission’s fans. Not only do they sing along loudly, en masse, to most songs, but they have their own football-style chants, sometimes making reference to Mission arcana beyond this writer’s knowledge. The band play the gig straight and sturdy, without banter, but the crowd lifts it.In terms of show, then, there are no bells’n’ Read more ...
Adam Sweeting
This two-part documentary about how the Eighties were partly shaped by the British Prime Minister and the US President was obviously planned long before the Russians invaded Ukraine, but it’s a powerful illustration of how history doesn’t stop, but keeps coming around again in a slightly reformatted guise. It’s also a timely reminder of what “statesmanship” means, at a time when this elusive commodity has never been in shorter supply.The story is told by Margaret Thatcher’s biographer and former Daily Telegraph editor Charles Moore, and bundling Moore, Thatcher and Ronald Reagan together Read more ...
Kieron Tyler
It was going to be great. Birmingham’s Digbeth Rag Market was hosting 1977’s highest-profile punk festival on 17 July. The Clash were headlining. Also billed were The Heartbreakers, Rich Kids, The Saints, Shagnasty, Stinky Toys, Subway Sect and Tanya Hyde & the Tormentors.Two days before it was meant to happen, the city council cancelled it. A gathering of punks was prevented. Even so, The Clash and the less-lauded Shagnasty came to town and after meeting pissed-off ticket holders went to local venue Barbarella’s to put on an impromptu show. They used equipment borrowed from the band Read more ...