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An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
David Smyth's rating
Reader rating
Description: Scott Walker's band perform with an orchestra and special guest vocalists including Jarvis Cocker, Dot Allison, Gavin Friday, Michael Henry, Nigel Richards and Damon Albarn.
Phone: 0845120 7550
Website: www.barbican.org.uk
Email: info@barbican.org.uk
Trains: Tube/BR: Barbican/Moorgate 
Extra info: Food, Pub, Parking
Damon Albarn: appeared on stage in wellies
This was a performance of Scott Walker’s music, conceived by Walker, at which the mastermind was present but did not appear. That was the least bizarre thing about an evening that was disturbing, confusing, horrific and downright ridiculous.
Forget the swooning Walker Brothers pop and four wonderful late Sixties solo albums. The eight songs brought to vivid life here came from Tilt (1995) and The Drift (2006). Never has a pop musician journeyed so far from his tuneful origins.
The foundations were Walker’s lyrics, Beckettian lines sparse and bleak. Performers including Jarvis Cocker, Damon Albarn and Gavin Friday acted them as well as singing them, helping them to make more, but not too much, sense.
Jesse featured Friday dressed as Elvis, singing to his dead twin brother, a silhouette that morphed into the twin towers of 9/11. Albarn in wellies, intoned: “I’m a farmer in the city” while two men in suits and fearsome tribal masks lit candles beneath a painting of the Italian football team. Dot Allison sang Buzzers beneath a tree made of coat hangers.
The music lurched from savage discordance to near-silence. Jolson And Jones built towards a truly horrible cacophony of horns while opera singer Nigel Richards howled: “I’ll punch a donkey in the streets of Galway!”
More shocking was the actual punching during Clara. Lee Adams thumped a real pig carcass like a punchbag beside jerking, staggering dancer Lorena Randi and Owen Gilhooly singing lying down beneath a noose. It summed up the unsettling mix of horror and absurdity throughout. As the old saying goes, if you didn’t laugh you’d cry.
Was it enjoyable? No, but as a piece of art it will stick in the memory long after a hundred other concerts have faded.
Details are correct at the time of publication - please check with venue before booking.
It scared me.
- Jon Cockley, London
Jarvis and Damon were both out of their league, voicewise. Nevertheless, I applaud them for even trying. The highlights of the evening, for me, were Clara---Owen Gilhooly's singing--flat on his back--made me shudder from head-to-toe---as did the whole realisation of that wonderful song. Nigel Richard's interpretation of Jolson & Jolson was marvelous, also. I was a fantastic evening. Scott Walker is a genius. I don't mind waiting 10 years for the next album--it will be worth it.
- Jim, Sheffield UK
Visceral, excoriating, profound, scary, painful, brave, honest, sublime. And as far away from hollow 'entertainment' as you can get. The duration was right for this material - exploring those deep, dark places within us all is a tough call. I salute Scott Walker and everyone involved - your bravery and heart has made a work of great and terrible beauty.
- Stephanie Hooker, Mayfield, East Sussex
As an appreciative listener of The Drift and Tilt, I was thrilled to be able to hear the songs performed live, in spite of the fact that Scott Walker didn't sing. Those who did sing did justice to the songs, I particularly enjoyed Dot Allison. The sound was excellent. The staging was perfect and the theatrical interpretations were compelling. My only criticism is that it didn't last long enough. I would like to have heard "The Cockfighter" performed.
- Laurie Mayer, London, UK
I thought it was dull and pretentious and you couldn't really catch all the words, so pointless too.
- Gareth James, London UK
By the same token, just because something is challenging to sit through doesn't necessarily mean that it is "proper art", or that there is even anything in it to be understood or learned about.
Personally, I thought the show was preposterous, daft and deeply pretentious. It was like a League of Gentlement parody of avant garde theatre. And me paying £30 for a show of not much more than an hour was the daftest thing of all.
- Andrew Humphrey, London
Ah, the old "you just didn't get it" defense, excellent. 
This sounds interesting, but does anyone really need Beckett plus discordant horns, but minus the jokes?
- Ken Peggs, London, UK
It's a shame Mr. Smyth had to attend a performance he didn't like.
i thought it was brilliant! just because you don't understand something doesn't necessarily make it less enjoyable. i suppose the difference is i'd like to understand, eventually. to me, part of the appeal was how much there is to learn about it...it isn't pop that's pre-chewed for you, it's proper art, and all the more enjoyable for it! at least in my view.
meh, David's loss 
- James Box, London
