BALIMAYA PROJECT & DISCO PACIFICO ALL-STARS (London Barbican, 27/09/25)

London's premier Mandé jazz collective joined forces with several musicians from Colombia's Discos Pacifico label to bridge together two distant, but related forms of African diaspora music - with joyful, celebratory results.

MICHAEL ROTHER (London Islington Assembly Rooms, 20/09/25)

The 75-year-old German kosmische legend returns once more to bless London's balding male community with a set of shimmering, motorik majesty. Yes, there's little in the way of variety, between songs or within them, but they all make me feel like I'm going to embark on some awesome 70's sci-fi adventure and that's what's important.

CLAP YOUR HANDS SAY YEAH (London EartH, 19/09/25)

Deep in some drawer somewhere resides a press cutting from the University of York student paper, wherein a certain individual reviewed CYHSY's first ever official European show in 2005. My main takeaway was that it was alright, but Alec looked like a deer stuck in the headlights throughout, never once acknowledging the audience. 

Two decades on and it's a whole different ball game- actual banter (including some pass-agg barbs at chatterers in the audience), dancing (albeit in mid-Noughties indie auteur fashion) and a much more engaging vibe. What hasn't changed though is my enjoyment of that first album (still a banger, f*** the haters) and this was a fitting celebration of its quirky, beguiling charms.

THE HIDDEN CAMERAS (London Rough Trade East, 15/09/25)

Pretty much the same as July's show, but with better air-con.

ST VINCENT (London Royal Albert Hall, 03/09/25)

Why yes, "Black Rainbow" does sound incredible with a full orchestra behind it, thanks for asking. The rest of Annie Clark's Promenade Concert (ft. Jules Buckley and his musicians) was pretty breathtaking too, standouts being a stunning, Portishead-esque "Los Ageless", the aggressively punchy "Digital Witness", and eternal bangers 'Slow Disco" and "New York". A real step-up after being left slightly cold by the Somerset House show.

MEGA-RAN (London Social, 28/08/25)

From the moment the set commenced with the SEGA startup sound, I knew I'd made the right choice to attende. Nerdcore rap might not be my usual scene, but this former teacher from Philly fused classic videogame tunes (MegaMan! Mario! FFVII!), exceptional rhymes (a mid-gig freestyle section was insane) and an exuberant, positive personality to fantastic effect. A really fun experience.

THE BURNING HELL (London Moth Club, 26/08/25)

There are three things certain in life: death, taxes, and feeling thoroughly uplifted by a Burning Hell gig. I did briefly worry about them hoarding excess band members into a cage, but the witty lyrics and top-notch musicianship made it easy to overlook their questionable working practices.

ALL POINTS EAST FESTIVAL (London Victoria Park, 24/08/25)

Would I have paid full price for this? Hell no. Was it fun to attend with cheap tickets and lots of friends? Hell yes. Hamish Hawk may have set the bar too high too early with his erudite, intense, risque, charismatic masterclass of a performance, but Black Country New Road in a big tent gave me goosebumps with "Turbines/Pigs" and Youth Lagoon's tender, experimental dream-pop was something I'd like to revisit. Quote of the day: "The lead singer looks like he's Molly Ringwold's bad boyfriend".

LA SECURITE (London Moth Club, 23/08/25)

A super-fun burst of frenetic Montreal dance-punk, perfect for partying on a Saturday night. Zut alors!

BARBICAN ESTATE (London Shacklewell Arms, 19/08/25)

An exceptional night of music in a very small room- Barbican Estate's epic post-rocky psych-noise, Ninush's lush, string-drenched beauty, Any Young Mechanic's CYHSY-goes-country raucousness (an impressive showing from an Adelaide band playing their first UK gig) and the always delightful Clementine March previewing her upcoming album solo- and all for a very good cause too!

QUJAKU (London Strongrooms, 16/08/25)

Apocalyptic grooves, ritualistic drums and guitar squalling that could sunder your soul from your body. Yes, Japanese noise-mongers Qujaku are back in town and they destroyed me on a sub-atomic level.

ORCHESTRE POLY RYTHMO DE COTONOU (London Jazz Cafe, 14/08/25)

Delighted to see this legendary collective from Benin return to the UK for the first time since 2017- their afrobeat/samba/funk grooves were truly enlivening.

DEERHOOF (London Bush Hall, 28/07/25)

Very pleased the final gig of my thirties featured a band that encapsulated so much what I love about live music- energy, eccentricity, chaos, intensity, dazzling musicianship...and small Japanese ladies bopping around whilst a long-haired, wild-eyed octopus man erratically attacks a drum kit to basslines and time-signatures both genius and insane. More of this as I move inexorably towards my dotage, please.

FULU MIZUKI (London Fox & Firkin, 25/07/25)

Blinding set from this fantastic six-piece from the DRC, known for constructing their instruments from scrap - the energy levels were phenomenal, and it was great to see such a diverse crowd properly into it. Not a big surprise to discover that two alumni from this band ended up in KOKOKO!

THE HIDDEN CAMERAS (London Social, 23/07/25)

A generous, engaging 90 minute solo set from Joel Gibb encompassing everything from the "gay folk church music" from the mid-Noughties to the harder, more electronic sound on his newer stuff. I will say, however, The Social is not always the most comfortable place to be on a stuffy July evening...

HAROUMI HOSONO (London Royal Festival Hall, 19/07/25)

A breezy, charming performance from Japanese pop's most eclectic genius. More focused on his love of samba and folk songs than his Yellow Magic Orchestra-era electronic experimentalism, the 78-year old both 'covered' Vampire Weekend's "2021" (heavily sampled from Hosono in the first place) and took a mid-set fag break, showcasing his forward-facing AND old-school tendencies. Very dapper too!

WET LEG (London Electric Ballroom, 17/07/25)

I hadn't actually heard the second album pre-gig so was intrigued to see if Rhian and Hester could make lightning strike twice - and although there's no obvious "Chaise Longue"-style mega-hit, the new stuff definitely sounds a cut above much of the debut. A snappy but highly encouraging 45 minutes, where no-one was assigned to worry my mother.

ST VINCENT (London Somerset House, 16/07/25)

My 20th Annie Clark gig was very good, but I do think there's sometimes a clash between the choreographed, theatrical "St Vincent" persona she's established over the years and this punkier, sexier, more 'spontaneous" edge of this current tour; it just doesn't always ring true for me. That said, the songs and musicianship were dazzling as ever, and when the stagecraft works, it's impact is undeniable.

STEVIE WONDER & EZRA COLLECTIVE (London Hyde Park, 12/07/25)

I mean, what can you say really? Two and a half hours of hit after hit after hit, each sounding perfect and all delivered with joy, humour and sometimes a dodgy cockney accent..."My Cherie Amour" has had a place in my heart from a time before memory so that's always a particular pleasure, but that late-set run of "Living For The City"->"Sir Duke"->"I Wish" was such an overwhelming rush, I feel hard-pressed to put it into words. Truly brilliant. 

(And it'd be remiss not to mention Ezra Collective in support- South London's premier Afrobeat jazz collective truly understood the assignment and transformed a sea of indifferent Stevie Wonder fans into a full-on dance party. The perfect warm-up act, and one of the most memorable sets of the year in their own right).

SMOKEY ROBINSON (London Hammersmith Apollo, 11/07/25)

Initial signs weren't promising: 15 minutes of pre-gig ads and self-promo then terribly ropey sound for the first couple of songs. But once the Motown legend found his groove things rapidly improved, particularly when he hit the 'Temptations' portion of the set- I mean, this was the man who wrote fucking "My Girl" for God's sake. Some weird setlist choices drained the momentum later on, but The Big Hits did not disappoint and when Smokey really let loose with his vocals, it really underlined why, even at the age of 85, he's a true all-timer. Uneven, but I'm 100% glad I experienced it.