My radio show Amazing Songs & Other Delights #94 – Of Art & Image edition is now available on mixcloud.
Of Art & Image edition has 15 songs that refer to art, artists, mostly painters, and image, both still and motion. You can read more about the programme here.
Tracklist 01: Don McLean – Vincent 02: Manic Street Preachers – Interiors (Song for Willem de Kooning) 03: Death Cab for Cutie – Photobooth 04: The Passions – I’m in Love With a German Film Star 05: John Cale – Magritte 06: Modern Lovers – Pablo Picasso 07: David Bowie – Andy Warhol 08: Bauhaus – Bela Lugosi’s Dead 09: Duran Duran – Girls On Film 10: The Kinks – Picture Book 11: Spoon – I Turn My Camera On 12: Paul Simon – Kodachrome 13: Dire Straits – In the Gallery 14: John Mayer – 3×5 15: Manic Street Preachers – Kevin Carter
words: Paulo Carmona (translated and edited by Raquel Pinheiro) photos: Daniela Tendim
Suede are like a top-quality Port. Once “vintage”, forever vintage. The years pass and the quality improves unequivocally. They never disappoint, never waver, never compromise. Whenever they step onto a stage they are completely focused, always ready to give their best, and their best is of a very high standard.
As it was at Super Bock Arena, in Porto, where they came to present their latest album – Antidepressants – to their newest friends and to those who have followed them for years. A quick glance around the room was enough to realise that Suede captivate every generation.
If Simon Gilbert and Mat Osman are the band’s unquestionable maestros, thanks to their experience and talent, cohesive and brilliant in their rhythmic execution, then Richard Oakes and Neil Codling provide the stylised melodies that shape and define the Suede sound.
As for Brett Anderson – the lead singer – he ought to be the subject of a scientific study. A remarkable performer, an absolute stage monster. He seems to run on batteries that never run out, radiating an emotional energy capable of stirring a bear in the depths of hibernation. I would say he is a teenager recycled at supersonic speed. The audience adores him, every gesture, every mannerism, every swing of his body.
From the setlist chosen for this show, it must be said that they swept across their vast repertoire, with particular emphasis on songs from the latest album — very well received by the audience, it should be noted — but also including the epic and iconic songs of old, songs that belong to all times. I would highlight Trash, Can’t Get Enough and Everything Will Flow, which drove the crowd into complete delirium, and, of course, The Beautiful Ones, which figuratively brought the whole arena down.
Brett did not confine himself to the pit and ventured straight into the middle of the crowd. Amid shouts, tears, applause, hugs and kisses, he somehow managed to slip back onto the stage to close the concert in total apotheosis.
Grab your glasses, and yell from the bottom of your lungs! Cheers, Suede!
The Band: Brett Anderson – lead vocals Mat Osman – bass Simon Gilbert – drums Richard Oakes – guitar Neil Codling – guitar, keyboards, backing vocals.
Setlist: Disintegrate Antidepressants Trash Animal Nitrate We Are the Pigs Personality Disorder Sabotage New Generation Filmstar Can’t Get Enough June Rain She Still Leads Me On Shadow Self Trance State The Wild Ones (acoustic Brett Anderson & Richard Oakes) Everything Will Flow So Young Metal Mickey Beautiful Ones Dancing with the Europeans
words: Marcos Leal (edited by Raquel Pinheiro) photos: Telma Mota
Primitive Reason’s concert a week ago at Hard Club was far more than a return to the stage, it was a statement of vitality.
The band celebrated the 30th anniversary of Alternative Prison, an album that shaped the Portuguese alternative scene and continues to resonate powerfully across generations. In addition to the songs from the celebrated album, the setlist included other classic songs, and even a previously unheard live one: Sancaro (The Death of the Gaupameis).
The classic lineup – Brian Jackson, Guillermo de Llera,Jorge Felizardo, Mark Cain, and Abel Beja – reunited once again. From the very first minute, the chemistry felt intact, the presence was powerful, and the energy was contagious, making Hard Club pulse with excitement, especially among those who had lived Alternative Prison in the prime of their youth, now in their fifties and parents themselves.
The band’s signature fusion – rap, punk, hardcore, reggae, and ska – proved it still works and still spreads its infectious energy. The audience, made up of longtime fans and newcomers alike, responded with intensity, creating the kind of atmosphere Primitive Reason have always cultivated: participatory, loud, and emotional.
I watched with a smile as that generation jumped and moshed as if they had stepped back in time, despite the intense heat inside the packed Hard Club Room 1. Sweat and nostalgia were everywhere.
All the members of the band showed musical cohesion and a strong sense of unity, clearly surprised and energized by the audience’s displays of devotion. Drummer Jorge Felizardo even joined the crowd for a mosh. Not even the small technical issues at the start – particularly with Brian Jackson’s vocals – disrupted the performance.
The concert was part of a larger celebration that also featured bands like Bad Tomato and Hetta. These choices reinforced the dialogue between generations and the lasting influence of Primitive Reason on Portuguese alternative music.
A memorable concert, filled with history, energy, and identity. Primitive Reason proved they remain relevant, intense, and capable of setting a room on fire like few portuguese bands can.
For those who grew up with Alternative Prison, it was a journey back in time; for those discovering them now, a revelation.
The band ended both performances revitalized and with a clear desire to return to the stage soon.
The repeat of my radio show My Amazing Songs & Other Delights #63 – The Say Hello, Wave Goodbye edition is broadcasted Monday 16 & 23, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).
The title comes from the Soft Cell song of the same name, here on a cover by David Gray. There’s some of my music, along, among others, Franz Schubert, Old Jerusalem, The Clash, Kings of Leon, Bernard Butler. You can read the programme original text here.
Tracklist: 01 – Raquel Pinheiro – Big Bang (radio edit) 02 – Old Jerusalem – Red sun over the interstate 03 – Franz Schubert – Erlkönig, (Op. 1, D. 328 – Wer reitet so spät sung by Dietrich Fischer-Dieskau) 04 – The Modern Lovers – Dodge Veg o-matic 05 – Bernard Butler – Camber Sands 06 – The Fugs – Bartleby The Scrivener 07 – Elton John – Goodbye Yellow Brick Road 08 – David Gray – Say Hello, Wave Goodbye (Soft Cell cover) 09 – The Beatles – Drive My Car 10 – The Clash – Lost In The Supermarket 11 – Kings of Leon – Going Nowhere (live in Nashville) 12 – Siouxsie & The Banshees – The Passenger (Iggy Pop cover) 13 – The Proclaimers – I’m Gonna Be (500 Miles) (2011 remaster) 14 – Aaron Copland – Going to Heaven! (Emily Dickinson poem, sung by Sanford Sylvan) 15 – Little Eve – The Loco-Motion (remaster) 16 – The June Carriers – Pastoral Epigraph
words: Paulo Carmona (freely translated by Raquel Pinheiro) photos: Paulo Carmona
For those who, like myself, enjoy live music, I have this question: Is there anything more pleasurable than going to see a concert by a band you know little or almost nothing about and being surprised by a bomb of energy, good vibes, interaction, commitment, and high-quality musical competence? I guess not!
The Scots Humour are what you call: A hell of a band!
They come on stage with the nonchalance of a bunch of kids and leave it with the mojo of first-rate rockers who have accomplished their mission with distinction.
The room was far from full, perhaps half capacity. Fortunate were those who left their homes on a Thursday night and headed to Maus Hábitos in Porto to welcome them.
Humour’s post-punk is contagious and electrifying. Powerful guitars, a well-marked and sustained bass, cohesive and distinctive drums, and a delirious voice. And up to this point, everything is within what one might expect from a band operating in this field.
The difference lies in the composition, the dynamics, the truth of the lyrics and the performance. Everything very well achieved and finely honed.
The agony of the riffs in the verses gives way to warm, soothing melodies in the choruses, in a kind of emotional roller coaster. This can be heard in almost every song, from Neighbours, with which they opened, through Memorial and Dirty Bread, to Plagiarist, with which they closed the concert.
The name of this band could not be more fitting. The band’s kindness and friendliness win over the audience.
In conversation with the band’s good-humoured frontman – Andreas Christodoulidis – I asked him what drives them in this world of songs. His answer was unequivocal: “We want to give the audience good songs, full of energy, good lyrics, and with that get some good feelings going. That’s what we’re here for.” If that was their intention, they achieved it even better than they imagined, because that was exactly what I witnessed.
The Divine Comedy made a stop on their current tour at Casa da Música, in Sala Suggia – the orchestra room. The band is promoting their latest, beautiful album Rainy Sunday Afternoon, one of my favourite records of 2025.
If I was asked to describe them to someone who has never heard them, my first description would be baroque pop, which fits particularly well with Victory For The Comic Muse (2006), from which they played my beloved A Lady Of A Certain Age. Baroque pop can also be applied to Achilles, the concert opening song. But, The Divine Comedy are more than that.
Neil Hannon took to the stage in hat, sunglasses, jacket, fronting the band, and it was the beginning of a wonderful musical evening that started with Achilles.
By the end of the third song, When The Lights Go Out, off go the hat and the sunglasses. “I got to take this off”, says Hannon, and removes the glasses. Quickly and playfully questioning the audience: “Are you sleepy?”; Audience: “No.”; “Are you drunk?”; Audience: “No!”
I Want You sees him crouched between the keyboards and the drum kit. The elegant Lady Of A Certain Age, here faster than on record, follows, with me singing along, then “And now for probably my most intellectual song” introduces the upbeat, danceable At The Indie Disco. Neapolitan Girl sees me dancing on my seat.
Mar-A-Lago is lounge hour. Neil has a bar/cocktail station, prepares cocktails for the band, and a glass of wine for Tim Weller, the drummer, while introducing his extraordinary fellow musicians (I’m still marvelling at Simon Little): Andrew Skeet (keyboards), Ian Watson (keyboards, accordion, backing vocals), Simon Little (bass, backing vocals), Tosh Flood (guitar, backing vocals), Rosie Thompson (violin) and the aforementioned Tim Weller (drums).
The audience claps enthusiastically every time a drink is delivered to a band member. For himself, Neil pours red wine. From here onwards things become even more enthusiastic.
There will be Neil on his knees on stage; Neil stepping out of the stage walking in front of the front row, falling to the floor, seating up, sitting on the front row – during Our Mutual Friend – and lots of talking: “Thank you front row. If I ever go too far just call me out. You’re free to dance if you want, to move around, I don’t care. It’s more fun”.
And a dancing party starts by the stage, that will end up fully crowded. I’m the only person dancing in the press/guests box, perched on the heights of a wall. Which is a ton of fun, matching what is going down below.
The Heart is a Lonely Hunter, a beautiful romantic song, calms things down a little, and there are now people seated between the front row and the stage: “It’s good you’re sitting down there. It’s like Woodstock”. It kind of is. 🙂
Absent Friends is raising his glass to the audience time and to call on us: “Come on everybody, let’s share the experience.” Down there everyone stands up and dances. Generation Sex not only has an incredibly more partying audience, but the band sound getting louder. Which continues with National Express, the end of the main part.
For the encore we’re treated to To The Rescue, the poignant Invisible Thread, and a delirious finale with Tonight We Fly. And, indeed, flew we did.
The band: Neil Hannon – vocals, guitar, tambourine Andrew Skeet – keyboards Ian Watson – keyboards, accordion, backing vocals, Simon Little – bass, backing vocals Tosh Flood – guitar, backing vocals Rosie Thompson – violin Tim Weller- drums
Setlist: Achilles The Last Time I Saw the Old Man When the Lights Go Out All Over Europe Assume The Perpendicular Rainy Sunday Afternoon I Want You A Lady Of A Certain Age At The Indie Disco Neapolitan Girl Mar-a-Lago by the Sea Bang Goes The Knighthood Our Mutual Friend I Like Bad Ambassador The Heart is a Lonely Hunter Other People Absent Friends Becoming More Like Alfie Generation Sex National Express To The Rescue Invisible Thread Tonight We Fly
My radio show Amazing Songs & Other Delights #94 – Of Art & Image edition is broadcasted Monday, 2nd and 9th, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).
Of Art & Image edition has 15 songs that refer to art, artists, mostly painters, and image, both still and motion. You read more about the programme here.
Tracklist 01: Don McLean – Vincent 02: Manic Street Preachers – Interiors (Song for Willem de Kooning) 03: Death Cab for Cutie – Photobooth 04: The Passions – I’m in Love With a German Film Star 05: John Cale – Magritte 06: Modern Lovers – Pablo Picasso 07: David Bowie – Andy Warhol 08: Bauhaus – Bela Lugosi’s Dead 09: Duran Duran – Girls On Film 10: The Kinks – Picture Book 11: Spoon – I Turn My Camera On 12: Paul Simon – Kodachrome 13: Dire Straits – In the Gallery 14: John Mayer – 3×5 15: Manic Street Preachers – Kevin Carter
words: Paulo Carmona (freely translated by Raquel Pinheiro) photos: Telma Mota
It was an intense, youthful, irreverent, dynamic and joyous concert from start to finish.
Almost without interruption, with very little chatter, and no hidden agendas.
This Californian quartet knew exactly what they had come for and did not hold back. They delivered everything they had to give in just under an hour, treating their audience to energetic surf rock infused with plenty of that neo-punk edge characteristic of many North American West Coast bands.
Heavily distorted, striking guitars, a strong and present bass, and an immensely energetic, tightly played and incredibly powerful drum kit. It’s a recipe that never fails.
The first assault came with Way Too Much, Idiot, King Of a Beach and Tarantula. Nathan Williams, the project’s founding member, is effusive and provocative. He urged the crowd to split down the middle, only to then charge at one another. It worked perfectly. The mosh and the slam took over Mouco, and the rest is well known. For a few moments, we are all teenagers again.
A special mention for Nine Is God, a very well-structured and captivating song. They closed their set with Green Eyes and took their leave beneath enthusiastic applause, though without an encore. It is what it is, and that’s perfectly fine.
My radio show Amazing Songs & Other Delights #94 – Of Art & Image edition is broadcasted Monday, 2nd and 9th, 3-4pm (London time) on Yé Yé Radio: yeyeradio.com (or on the app).
Of Art & Image edition has 15 songs that refer to art, artists, mostly painters, and image, both still and motion. The Manic Street Preachers have two songs, from Everything Must Go, their fourth album. One for painting, Interiors (Song for Willem de Kooning), and one for photography, Kevin Carter.
Don McLean’s Vincent is based on Vincent Van Gogh’s The Starry Night, while Dire Straits’ In the Gallery is a tribute to sculptor Harry Braun.
Bauhaus and their Bela Lugosi’s Dead are a double reference. The band’s name to the German arts, design, architecture, crafts school, and to Hungarian-American actor Bela Lugosi.
Tracklist 01: Don McLean – Vincent 02: Manic Street Preachers – Interiors (Song for Willem de Kooning) 03: Death Cab for Cutie – Photobooth 04: The Passions – I’m in Love With a German Film Star 05: John Cale – Magritte 06: Modern Lovers – Pablo Picasso 07: David Bowie – Andy Warhol 08: Bauhaus – Bela Lugosi’s Dead 09: Duran Duran – Girls On Film 10: The Kinks – Picture Book 11: Spoon – I Turn My Camera On 12: Paul Simon – Kodachrome 13: Dire Straits – In the Gallery 14: John Mayer – 3×5 15: Manic Street Preachers – Kevin Carter
My radio show Amazing Songs & Other Delights # 93 – And The Circus Came & Left Town edition is now available on mixcloud.
Amazing Songs & Other Delights # 93 – And The Circus Came & Left Town edition combines carnival, fair, fetes, rodeo songs, or songs that mention those things with the circus, the carny, arriving and leaving. You can read more about the programme here.
Tracklist: 01: Bert Jansch – When the Circus Comes to Town 02: Jackson C. Frank – (My Name is) Carnival (2021 remaster) 03: David Bowie – Ashes To Ashes 04: Chic – Le Freak 05: Nick Cave & The Bad Seeds – The Carny 06: Chico Buarque – Quando o Carnaval Chegar 07: Feira Popular – Carrossel feat. Femme Falafel 08: Elvis Presley – It’s Carnival Time 09: Rufus Wainwright – Going To A Town 10: Gary Lucas – Live Score Tod Browning’s Freaks 1932 The Chase Scene 11: Elvis Presley – Take Me to the Fair 12: The Magnetic Fields – Papa Was a Rodeo 13: The Smiths – Rusholme Ruffians (2011 Remaster) 14: Bert Jansch – (My Name is) Carnival 15: Chico Buarque – Sonho de um Carnaval 16: Kyuss – El Rodeo 17: Elvis Presley – The Fair’s Moving On
Amazing Songs & Other Delights has new editions every first and third Monday of the month, respective repeats second and third Monday of the Month on Yé Yé Radio: yeyeradio.com (or on the app).
Mondo Bizarre Magazine 