fri 16/05/2025

Adam Sweeting

Adam Sweeting's picture
Bio
Former features editor of Melody Maker, Adam has written on rock, classical music and television for the Guardian, Daily Telegraph and Sunday Telegraph, Independent on Sunday, Uncut, Classic FM and Gramophone, and on motor-racing for Motorsport. He co-founded The Virtual Television Company, which made Mr Rock'n'Roll (Channel 4), Pavarotti: The Last Tenor (BBC2 Arena) and Imagine - Nigel Kennedy (BBC One)

Articles By Adam Sweeting

The Exorcist, Phoenix Theatre review - see the movie

Read more...

Strike Back, Series 6, Sky 1 review - more stories for boys

Read more...

Steely Dan / The Doobie Brothers, Bluesfest 2017 review - brilliant Dan, delicious Doobies

Read more...

Breathe review - heroic but airbrushed struggle against disability

Read more...

Gunpowder, BBC One review – death, horror, treason and a hint of farce

Read more...

George Michael: Freedom, Channel 4 review - just a supersized commercial?

Read more...

LFF 2017: Mindhunter / My Generation - Fincher comes to Netflix, Caine does Swinging London

Read more...

LFF 2017: Blade of the Immortal / Redoubtable - Samurai slasher versus the Nouvelle Vague

Read more...

Snowfall, BBC Two review - blizzard hits South Central

Read more...

LFF 2017: Journey's End review - classic play becomes cracking film

Read more...

LFF 2017: Breathe review - overdosing on good intentions

Read more...

Blade Runner 2049 review - powerful but needs more soul

Read more...

The Last Post, BBC One review - sundown on the Empire

Read more...

h.Club 100 Awards: Broadcast - calling out around the world

Read more...

The Child in Time, BBC One review - lost in translation

Read more...

Kingsman: The Golden Circle review - too much of everything

Read more...

Pages

latest in today

Help to give theartsdesk a future!

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

Magic Farm review - numpties from the Nineties

There’s nothing more healthy than dissing your own dad, and filmmaker Amalia Ulman says that her old man was “a Gen X deadbeat edgelord skater”...

The Great Escape Festival 2025, Brighton review - a dip into...

As every social space in Brighton once again transforms into a mire of self-important music biz sorts loudly bellowing about “waterfalling on...

theartsdesk Q&A: Zoë Telford on playing a stressed-out p...

If you compiled a list of favourite TV series from the last couple of decades, you’d find that Zoë Telford has appeared in most of them. The...

Jean-Efflam Bavouzet, Wigmore Hall review - too big a splash...

It was a daring idea to mark Ravel’s 150th birthday year with a single concert packing in all his works for solo piano. Jean-Efflam Bavouzet knows...

Good One review - a life lesson in the wild with her dad and...

Good One is a generation-and-gender gap drama that mostly unfolds during a weekend hiking and camping trip in the Catskills Forest...

E.1027 - Eileen Gray and the House by the Sea review - dull...

It’s hard to say who is going to enjoy E.1027 – Eileen Gray and the House by the Sea. Admirers of the modernist designer-architect will...

Album: Rico Nasty - LETHAL

Rico Nasty’s new album LETHAL signals a shift in direction, but whether it is a bold evolution or a step towards something less distinct...

The Marching Band review - what's the French for '...

In Emmanuel Courcol’s drama The Marching Band (En Fanfare in French, and also released as My Brother's Band), a...

Lucy Farrell, Catherine MacLellan, The Green Note review - s...

Lucy Farrell, one quarter of the brilliant, award-winning Anglo-Scots band Furrow Collective, and a solo artist whose stunning debut album, We...