It’s been a markontour rule to always make an effort to see the support act, ever since I ill-advisedly bought tickets to see Simply Red (it was about 1988) but was rewarded by being introduced to The La’s. It is an approach to gig-going that reaped rewards again on Friday night, when Sierra Ferrell stole the show at the Teragram Ballroom, Los Angeles.
It has always been a markontour rule that while it is clearly wrong to assess a person by their looks, and generally an error to judge a book by its cover, it is completely acceptable to buy music on the basis of the album artwork alone. It is an approach that has stood me in good stead from London Calling to the Stone Roses, and is thoroughly vindicated in the case of the Black Pumas.
December is here, which means it is time for the annual markontour Festive Fifteen. As usual, there’s nothing to do with Xmas here, and there has been so much great music this year that I have yet again failed to whittle my list down to fifteen tracks. But, caveats aside, herewith The Festive Fifteen of 2019..
In a vital and captivating free new exhibition the Museum of London is celebrating forty-years since the release of London Calling by The Clash. It’s an album that is both precisely of its time and yet timeless, a spirit that the curators (working with the surviving members of the band) have managed to capture perfectly. Markontour has visited twice already in its first week and I’m sure I will be back a few more times before it closes in April.
“If you want to write a song about the human race / Write a song about the Moon” sang Paul Simon, a decade after Neil Armstrong became the first human being to set foot on land beyond the Earth, and so begins the National Maritime Museum’s ‘Moon’ exhibition. Despite having much sympathy with Gil Scott Heron’s more contemporaneous lyrical critique (“I can’t pay no doctor’s bill / But whitey’s on the Moon”), I can’t help continuing a life-long fascination with the Moon and the 1960s Space Race, and so a trip to this exhibition was somewhat inevitable. And it was worth it…
Having the hills and mountains of Wales as a backdrop helps make Green Man the most beautiful of British music festivals, a visual winning card that was matched this year by a gorgeous programme of folk-influenced performers, surely the largest array of decent ales and ciders outside of a beer festival, and the ritual of burning the eponymous green man, taking with it to the skies hand-written messages of the festival-goers hopes and dreams.
This weekend’s British Sea Power curated Krankenhaus festival on the Cumbrian coast has been pure joy. Housed in a barn on the Muncaster Castle estate, it felt like a legal rave curated by a nature-loving art-school band. Where else would you get hear everything from folk to tree-people trance, alongside a reading from the poet laureate, late night DJ-ing from a snooker legend, and musically enhanced bingo from Japanese punk band?