Michael Hann

The highs of Stevie Wonder’s Hyde Park show were magnificently high. The vast band were fully clicked into that syncopated, swampy funk, horns stabbing through the synths, the backing singers adding gospel fervour. And Wonder – now 75 – sang like it was still the 1970s, his voice raspy one minute, angelic the next. Anyone

Ozzy Osbourne and Black Sabbath did something British groups had not done before. Before them, the British Invasion groups – from the Beatles, the Stones and The Who down to Herman’s Hermits and Dave Dee, Dozy, Beaky, Mick and Tich – had taken American music and sold it to the British public as the American

We all know, at heart, that economic theories of rational behaviour are rubbish. And that their application ruins so many areas of life. Football supporters, for example, are not ‘customers’; they are supporters. They are at the club before a new owner arrives, they remain there after that owner leaves. In the meantime, they do

If, as is said, there are only seven basic narratives in human storytelling, then there should be an addendum. In rock and pop there is only one: the dizzying rise, the imperial period, the fall from grace (either commercial or ethical, sometimes both), and the noble return (historically prefigured with a glossy music mag cover

What could it possibly feel like to be a sportsperson who gets the yips? To wake up one morning and be unable to replicate the technical skills that define you. To suddenly find the thing you do well absolutely impossible. Golfers who lose their swing, cricketers whose bowling deserts them, snooker players who can’t sink

No one who went to see Bruce Springsteen’s Broadway residency a few years back came away disappointed because they knew what they were getting: a tightly scripted show, in which there was more speech than music. The country star Eric Church – who made his name with a single called ‘Springsteen’ – appeared to have

Young male singers won the right to be sensitive in 1963, when The Freewheelin’ Bob Dylan was released. And in the 63 years since, being young and vulnerable and questing has been one of the great default settings. I’d say you can’t go far wrong singing sadly about your feelings, but of course you can,

The most compelling character in the newish documentary One to One: John & Yoko isn’t either John or Yoko. It’s one A.J. Weberman, inventor of ‘Dylanology’ and ‘garbology’. He’s shown practising both in the film, rummaging through Bob Dylan’s bins for clues to the thought process of genius.  Fifty years on, two things struck me.

Can we talk business for a moment? When reviewers like me go to big arenas, we get the best seats in the house, with fantastic sightlines and excellent sound (a PR who used to work for U2 told me she would routinely reassign press into even better seats than the already splendid ones they had

Midway through their thoroughly entertaining show at Wembley Arena, the Darkness played a song from a decade ago called ‘Barbarian’, about Ivar the Boneless and the Viking conquest of Britain. ‘Barbarian’ exists in a long tradition of men with long hair, tight trousers and loud guitars singing about our Danish friends. Led Zeppelin did it

Touring’s not what it used to be. When I were a lad, even big bands would do 30 or 40 shows around the UK to promote their new albums, stopping in places such as Chippenham Goldiggers, Hanley Victoria Hall, Ipswich Gaumont, Preston Lockley Grand Hall that would only see a major act today if they

No truth is more self-evident than that there are those whose best emerges only when they are paired with others: Lennon and McCartney, Morecambe and Wise, Clough and Taylor. And it’s perhaps even harder for a behind-the-scenes collaborator to step out in their own right. Jack Antonoff, for example, is one of the creative powerhouses

There are nights when one realises quite how much effort the business end of showbusiness must be. On a bitterly cold Monday night in Philadelphia, Lauren Mayberry – over from Glasgow, and halfway through a month of criss-crossing the USA – took to the stage to survey a crowd of maybe 500 people, in a

If you were a frequent viewer of Top Gear in its Clarkson/Hammond/May era, there is a particular laugh you will be very familiar with: the combined hoot and exclamation that the three of them, and Clarkson especially, would engage in when driving a fast car around a bend. It was a sort of ‘WOOOOwraghhhahahaha’, designed

Many indie types from the 1980s and 1990s were secretly metal fans. But it’s not something they ever really wanted to admit to in public. They’d talk a good game about the Stooges and the Velvet Underground but back home – as was the case with Leeds’s goth overlord Andrew Eldritch, of the Sisters of

Don Bradman, the greatest cricketer of all time, was once asked if he reckoned he could have maintained his batting average of 99.94 against the fearsome West Indian bowling attack of the time. Oh no, he said. Not a chance. He’d probably be hitting in the 50s, like the very best batsmen of the time.

It was Irish week in London, with one group from the north and one from the south. Guinness was sold in unusual amounts; green football shirts were plentiful; and so, at both shows, was a genuinesense of joyful triumph – these were the biggest London venues either group had headlined. The Irishness was much more

‘Can I have a photo with you, please?’ It’s the most embarrassing question you can ask of someone you’re interviewing. But I had to. Not only because Evan Dando is one of my favourite songwriters. But also – vainly – because years of on-off drug addiction (mostly on) mean Dando is no longer quite the

Chris Stapleton is a barrel-chested man of 46, who hides his face beneath a beard that must have taken years to grow, hair that tumbles down past his shoulders and a hat that could probably accommodate rather more than ten gallons. He sings songs about being imperfect, with a band behind him making a sound