sat 17/05/2025

Adam Sweeting

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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

Kat and Alfie: Redwater, BBC One review – 'EastEnders' spinoff suffers from no fixed identity

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King Charles III, BBC Two review - royal crisis makes thrilling drama

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Alien: Covenant review - we've seen most of this before

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Pink Floyd: Their Mortal Remains, V&A review – from innocence to experience and beyond

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Britain's Nuclear Bomb: The Inside Story review - 'power, politics and national identity'

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Brian Johnson's A Life on the Road review – ripping yarns of rock'n'roll

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The Promise review - genocide reduced to melodrama

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Little Boy Blue review – 'the sum of all fears'

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Clash review - 'a nation in crisis'

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Homeland review - 'worryingly prescient'

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Guerrilla review – 'it takes itself fantastically seriously'

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The Sense of an Ending review – an enigmatic journey through the past

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The Last Kingdom - 'one of the very best things on television'

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Sunday Book: Min Kym - Gone: A Girl, a Violin, a Life Unstrung

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Ghost in the Shell review - 'a mind-bending futuristic dystopia'

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Line of Duty, Series 4 review – 'the tension rocketed to brain-jangling red alert'

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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...