Record Review: Richard Dawson’s “2020”

This is art shorn of artifice, pop against populism, and it just so happens to be one of the defining statements of our times.

Richard Dawson’s new album is called 2020. Knowing what we do about the way Dawson’s unique songwriting brain works, it’s tempting to surmise that it’s going to be a near-future concept album about an England almost identical to our own, but with the weirdness and woe condensed in that forthright Dawsonian manner we’ve come to expect. And in a way this is true. The songs on 2020 describe the inner lives of normal individuals in a country on the cusp of something vaguely unpleasant, something black and looming that has just appeared over the horizon. Dawson’s songs alchemise widespread political and social anxieties into pinpoint vignettes; ostensibly mundane concerns are conjured into startling focus. Continue reading

The Mercury music prize has lost its way – here’s how to fix it

Eliza Carthy
Eliza Carthy

The ‘token’ jazz, folk and avant garde nominees for the UK’s most prestigious music prize are the ones who stand to gain the most from it – but they are being ignored

Jude Rogers

The question posed most often, and most crabbily, in the history of the Mercury prize is: what’s the point of the “token” acts on the shortlist? Jazz, folk and classical nominees are only ever there to make the judges of the UK’s most prestigious music award look clever; they certainly never win.Talk to the acts themselves, however, and a different story emerges. “I don’t care if we’re called a token jazz act if we sell 3,000 more records,” says Shabaka Hutchings, whose jazz group, Sons of Kemet, are among the favourites to win. “And it might be a coincidence, but I’ve noticed things happening since we were nominated this year.” Their gigs are selling out more consistently and the band are getting better stages at events. They’re getting support they don’t get from the Mobos, Hutchings argues, as he has before, and don’t start him on the Brits. “That side of the industry doesn’t care. But this is like a little stamp: you are given a level of validation that reverberates. And if it sells more albums or tickets, it helps subsidise our music and push our scene as far as it can go.”

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