Old Friends

Pink Martini, Royal Albert Hall, 13 October 2022

Tonight was the 7th time I saw Pink Martini live, and it's surprising I never wrote about them. It was probably ordinated then that for some reason some random memories of the first time I saw them popped in my head.

2007, Sala Palatului, Bucharest. I was a cameraman for that gig and did not know about Pink Martini other than all the local hip press was raving about them and about the fact they decided to include Bucharest on their tour. Tonight, when I saw them on stage, playing all the weird random instruments, I got reminded of how the sound techs for the Bucharest gig - used to 4-5 piece rock bands - were complaining about the difficulty of getting the sound right for this many people with this many instruments.

15 years, 7 gigs and many hours listening to their music later, seeing Pink Martini live is like seeing old friends. The music is just as good as it was back in 2007 when I became a stronger convert in those two hours than Saul of Tarsus on the road to Damascus. But the best thing about a Pink Martini gig - and this has been true for all of them - is the joy emanating from the stage, the lack of any separation between artists and audience and yeah, this idea that we're not however many people watching a gig - we're just a bunch of friends brought together by music.

They have a new gimmick now. They ask people to request songs at the interval, then they read the requests. Which does sound gimmicky, until you start hearing the stories. The one that has seen tens of Pink Martini gigs, the one that has dreamt of seeing one for years and it finally happened; the one who traveled across continents, the one who got cancer since last time, or the one that has gotten rid of it; the one who has a friend or relative that died and the one who got a new partner. Or a new child. The whole of life is contained in those weird pieces of paper that China reads, some of them written in lipstick.

And it's the first time I've seen them after the pandemic, which made the feeling of reunion all that much stronger. And the first time I saw miss Edna Vazquez, which I'm listening to at the moment. The latest recruit, and a real discovery!

The first words, 'Siempre queue te pregunto', the opening lyric of Quizas, were delivered from the very depths of her Latin-American soul, and it was a long way back to the light of the Royal Albert Hall. She also had the courage to take on 'Pana cand nu te iubeam', and did a solid job of it. I think Maria Tanase is ok, and Pana cand nu te iubeam is certainly not her best song, but hearing Romanian sung by a world famous American band at the Royal Albert Hall will move something in any Romanian soul, and I feel privileged to have witnessed that. Edna was certainly the MVP on the night, and her third moment, singing an ancient Maya song to open the encore, was also magic.

Not to take anything away from China. Fabulous as always, and her voice as good as always, with an extra layer of melancholy, probably from the pandemic. And overall, much higher density of Middle-Eastern songs, I thought. She sang in Turkish, Arabic, Persian, Hebrew, Greek and Croatian and I doubt there are many singers in the world that can cover all of that in one night.

So yeah, Pink Martini, where the music is fabulous, but it's only the background. Go for the music, stay for the friends. I'm already looking forward to the next one!

When I saw Meow Meow's gig at Royal Festival Hall in 2016 I asked Thomas what his favorite venue is. He said the Royal Albert Hall, which surprised me, because acoustically and in terms of layout and relationship with the Audience, I don't think the Albert is that great a venue. But yeah, it's spectacular, and you can't compete with the history, I suppose.

I last saw them at Le Grand Rex in Paris, and I think Le Grand Rex is the better venue. I saw Bob Dylan at RAH in 2015 and it's a funny twist of destiny that tomorrow I will see Bob Dylan at Le Grand Rex. Not entirely sure what I've done to deserve this but by Jove, I am enjoying it. So yeah, tonight was great! Catching an early train to Paris tomorrow.

Edinburgh Fringe 2022 - Days 3 & 4

Right, it's getting a bit late now, almost a week since I got back from Edinburgh, I might as well finish the round-up of shows. And I left it the last show I saw on Wednesday,

Flat and the Curves, V7, 22.35 - a show I wanted to see because of the woman with no ego, by the name of Arabella Rodrigo (how cool a name is that?). I know Arabella from working on a show by Greg Mosse in 2019, and I've tried to follow and even book Flat and the Curves before, without much success. It's only partially my fault (ok, the bigger part). But they don't have much of their stuff online, to the point where I can't find my favorite songs from the show online at all. Might be for the better, Fascinating Aida does the same, and it feels like this increases their pull as a live act. 

I knew they're a 'risque' act, though not quite to what extent. The blurb describes them as 'salacious' though I'm not sure what's the most appropriate word to convey both the amount of anatomical detail they sing about and the hilarious way in which they do it. This is the Extra-Spice Girls (or rather, XXXtra-Spice Girls?). All the glitter, glitz, and glam in appearance, with content as lewd as an after-hour tavern of ill repute. An unknowing patron taking a punt on this show would take quite some time to adjust to its content.

Having said that, it was great fun. Loved the glitzy costumes, great vocals, belly laughs. You know how they say a child listening to Mozart in the womb comes out better adjusted? I am so looking forward to see how Arabella's kid - due at the end of September, will come out after a healthy dose of F&tC.

18 August

Finding myself with the Friday off, I extended my stay by one day, which meant I somewhat relaxed my pace, but came up with a higher show count anyway.

Work.txt, V26, 13.15 - my third time seeing work.txt and while the show is just as brilliant it felt like my marginal enjoyment of it is taking a dip. This is a show best enjoyed when you don't know much about it, whereas I have become somewhat obsessed with it. And most of the fuckers in the audience were in the know, which tells me most of the audience was not there for the first time. This took away some of the surprise element of the show, though once it got going it didn't really matter. It is smartly adapted to the space (they did this both at The Bunker and at Soho) and that audience rendition of Celine Dion at the end is just as priceless. Work.txt is revolutionary, and that's not me toying with words, that's a fact.

Waterloo, V26, 17.45 - A soldier who has killed people? A married man who's up for a fling? Whoever has heard anything like this before? Bron Batten's show is certainly not the worst, there are a lot of elements I liked about it: the special effects, the audience interaction, the sociological element, and no least the performance itself. My objection is mainly to the subject matter, which is a lot more mundane than she's asking us to believe. No matter, with a bit of polishing of the writing, I could get fully into it. Though Bron does herself no favors with the bullish attitude she has online. You have to come to the show; you have to stay until the end; you have to laugh in the right moments, applaud in the right moments; you have to get involved in all the games. A lot of have-to-s for an audience who, at the end of the day, does not owe the performer anything other than maybe common courtesy. I had to leave the show early; it's Edinburgh and shows overlap. Bron's complaining about it online almost ruined my whole day. And certainly didn't increase my appreciation of her show.

Two Fingers Up, V26, 18.30 - recommended by the Irish contingent, I went to this show with Amy Molloy. Unfortunately, both Amy and I are past the age where the issues of the show concern us. Because otherwise, Two Fingers Up is a very funny and very sweet take on the discovery of sexuality and growing up. Specifically, as a girl. More specifically, as a girl in Catholic Ireland. Where apparently sex education is horrendous, but then again, is there any place where it's good? Here's how it could be made better though: have this show touring in all the schools and have all the children aged 12-18 watch it. But apparently, the Catholic Church is not willing to pay for a show that undermines its authority. Too bad for the Catholic Church.

Reuben Kaye: The Butch is Back, V322, 21.30 - You get to know a man. You realize he's gay. Like, very gay. The gayest. Like, most of his persona is about the gayness. And you think to yourself: this is it. This person cannot be any gayer. And yet... when Reuben opened the show with his frame in the double doorway backlit by a purple light and surrounded by haze, I felt like exclaiming, exactly like Pontius Pilate: Ecce homo!

The truth is, no matter how much of a sell-out how successful he has become, I'll probably always be fanboying Reuben. For good reason. His humor is just as sharp, his vocal work just as outstanding as I remembered them, if not more so. It's really just the flamboyance that's gone up a notch (bigger budget). And he opens with a Leonard Cohen song! 

I do feel like his show is becoming a bit cryptic. Like, the jokes are delivered at such a pace and the humor is so self-referential that for someone seeing the show for the first time, there's a lot to untangle, and not a lot of time to breathe. The addition I do like is the core story, incredibly powerful and with a long after-taste.

It is amazing how much talent this man person oozes. Go see Reuben while you can still afford a ticket!

What does it mean to you?, V236, 23.15 - recommended by Gigi Guizado, this show has a lot of promise. Unfortunately, in the version that I saw, not a lot of it comes to fruition. It's a great idea to turn the theatre into a nightclub, have the audience greeted by a bouncer then take them on a journey through various types of nightclubs while offering as close as possible to a nightclub experience. But there's something missing. This cannot be it. The show needs either a more solid story or a better-built structure. And it certainly needs more of a resolution, because what it's got now is just a flat stop that left me with the feeling that it ended because the time was up. It needs to leave us with a message, a flat ending does nothing but cancels some of the good stuff that came before. So, good idea, and I hope it's taken further, but certainly more development is needed. 

19 August

August Wilson's How I Learned What I Learned, V20, 11.20 - being a fan of Fences, this show caught my eye. One of the ones I took a punt on, and I'm so glad I did! The script is incredibly powerful, the acting is so convincing that for most of the show I could feel it's actually August Wilson talking to me, the direction is incredibly effective while staying simple and discreet. I saw a lot of shows at this year's festival, and a lot of them have been good and waaay too diverse to be able to make any sort of hierarchy, but this one was certainly one of my favorites. This show is this year's 'I'd like to look at the script' and it will certainly stay with me for a good while. Hats off to the entire company!

Period Dramas, V33, 14.10 - Heather invited me on Twitter to her show, and going back to the Pleasance Courtyard brought back memories of 2015, when we did Teaset there. The idea of having a look at women's periods and how they've been looked at through history is a great one, but the documentation for the show is relatively superficial and the execution feels rushed to make it in time for the festival. It's ok to do things on a shoestring and with a tight deadline, but then expect the reactions to not match the ones for Melissa Carnesky. I mention Melissa Carnesky as I think she is the ultimate showbiz authority for women's periods. She has a PhD on it. And granted, that's overkill for creating a show. Heather has certainly done some research into the topic, but Ancient Egypt - Ancient Greece - Elizabeth - Victoria sounds like a taster history class more than an in-depth look. The most successful and interesting bits are the ones on ancient sources, the least successful bits of the show are the cabaret bits. There's a reason why cabaret and circus performers dedicate their whole waking time to their craft: it's the only way to master it.

So overall not a bad show, but only halfway there.

Chuck Salmon: Pool Noodles, V88, 16.00 - A recommendation from Paggy Gancheva, who also recommended Joe Wells, which I greatly enjoyed. Chuck Salmon is a long-form sketch comedy group full of good intentions. They're cute, and they're show is an ode to silly entertainment. I feel like if I was in a better frame of mind I would've enjoyed it more. I also feel there's something about on-stage sketch comedy that doesn't quite click for me. Maybe my lack of panto education, who knows? I'll stay on the fence on Chuck Salmon for now, but I'll keep an eye out for them. I'd certainly like to see them again. It will become clearer.

My Leonard Cohen, V20, 18.10 - Uhh, a tricky one. I saw Stewart D'Arietta in 2017 and my opinion is largely similar: reinterpretation rather than a tribute act. And Stewart is honest: MY Leonard Cohen might not be the same as YOUR Leonard Cohen and there's no pretension of being THE Leonard Cohen. Singing the songs for the pleasure of singing them rather than recreating them as a service to the public. We're both huge Leonard Cohen fans, Stewart and I. He's probably the bigger one, given that, you know, has a show about Leonard. That doesn't stop me to disagree with some of his interpretations. Or his setlist. Leonard Cohen has publicly distanced himself from Chelsea Hotel and would never perform it live, for instance. Stewart does. Who's to judge the value of that? I also think Stewart is at times superficial in understanding Leonard's biography. But I might be the one in the wrong. 

At the end of the day, I will never attend another Leonard Cohen concert. This is an opportunity for both Stewart and me to express that yearning and regret. 

His setlist was:

You Want it Darker

Tower of Song

Bird on a Wire

Suzanne

Dance me to the End of Love

Chelsea Hotel

So Long Marianne 

A Thousand Kisses Deep

I’m Your Man

Closing Time 

Hallelujah 

Tiger Lillies: One Penny Opera, V302, 21.20 - I've heard a lot about The Tiger Lillies, and a lot of good things. I didn't quite listen to them as much as I wanted, but with Foil Arms and Hog, Reuben, and Abandoman all sold out, this was a good opportunity to finally see them live. I'm really glad I did. They live up to the hype. Among the many good things I could say about their show, the first one is that they're really good at creating atmosphere. With only incredibly basic costume changes, a few words here and there, and through the power of music, I really felt transported in this magical fantasy place where the Weimar Republic, the Soho of mid 20th century and the inter-war Balkan provincial fairs meet. Tiger Lillies sing and embody a lot of things I like: the music of Kurt Weill, the outcasts, the misfits, cabaret, freedom, loss, and adventure. And they're incredibly good musicians, not only masters of their chosen instruments but also explorers of the limits of music, using the old-fashioned accordion as a centerpiece or using a handsaw as a violin. Plus, who can resist a good theremin?

Best of Burlesque Encore, V3, 23.55 - in doubted on whether to go for a late show or not, I was prompted by Seb Marques to do so. It was good to see Seb and catch up, better yet to do it on the background of a chilled, relaxed, late evening show. Pleasantly surprised to see Neil Kelso as a compere, though I didn't recognize any of the other acts. Partly because I don't think any of them were London based. And, having recently expressed discomfort at how Burlesque Idol turns the art of burlesque into a completion, it would be disingenuous of me to start classifying the acts. It was a great show. The one act that stayed with me the most was the Thai girl balancing a burning sword on her head. Another great example of combining a number of things I like.

And that was that. 25 shows over 4 days, and my assessment of them coming too late to be useful for the performers. For what it's worth, I feel I have enjoyed this edition of the festival the most yet, possibly due to missing it for two years. Rising prices, inaccessibility, ever more challenging conditions, all true, but the spirit of the festival is still there. Along with the desire to keep going, to change, to innovate, to make better. And make better we shall. Until next year, Edinburgh!

Edinburgh Fringe 2022 - days 1 & 2

I spoke a lot this past few days about the shows at Edinburgh Fringe in terms of quantity, and by any standard, 15 shows in 2 days is A LOT. I wouldn't have it any other way though, I would see more if it wasn't for the travel time between venues. And would you look at that, I've seen like, 0.5% of the shows at the festival since yesterday morning.

A lot of the shows I'm seeing this year, I have a connection with, one way or another. Therefore, any attempt to review what I've seen with any pretense of objectivity would be doomed. It's a plug for most, if not all of them, as I always recommend seeing as many shows as possible.

Most of all, this is a record of what I've seen, and my first impressions of it. Impressions that could be spot on or far off, or both at the same time, depending on who's reading them. Anyway, here we go:

16 August:

Fan Girl, V156, 11.10 - Fresh off the bus and trying to see Joe Wells, as recommended by Paggy Gancheva, I ventured into the unknown of this show, with a poster where someone pasted a face on top of Cantona's t-shirt. Specifically - I was going to find out - the face of Bryony Byrne, 35yo from St Albans, used to play football in Secondary School. Interactive, full of 90s nostalgia, and an enthrallment with Cantona, there was no way I wasn't gonna connect with this show at some level. Heavy quoting from Cantona on Cantona is unfair, that's a photo album more than anything, but reliving THAT goal against Southampton in 1996 evens things out. Not perfect, but not bad. I'd like to see it again. After all, St Albans to London is an easy commute.

Having failed to get in to Joe Wells, which was full, I headed towards St George's Square to see

In the Name of the Son, V17, 13.10 - This is the story of Gerry Conlon, played by Daniel Day-Lewis in the Oscar-nominated 'In the Name of the Father' (1993). The story of Gerry Conlon, but with a focus on the later years, after he got out of his 15-years-long wrongful imprisonment. I wanted to see the show because I know Shaun Blaney, the lead, and I like his writing. Turns out, I love his acting, too! A tour-de-force performance, 80 minutes of intense physicality, jumping through accents, characters, timelines, and then some literal jumping around. I can only imagine what a tiring show it is, but as far as audiences are concerned, it's a feat! And the acting is simply outstanding. Solid 5 stars show!

Stand-up Philosophy, V170, 14.30 - It is often that some practitioners of philosophy accuse others of being frauds. That's mostly down to humanity not managing to agree on what Philosophy is. I am pretty sure that what I've seen at The Counting House yesterday is not philosophy. Philosophy as a performance art is, in my humble opinion, under-explored and under-rated. Philosophy can be funny, useful, instructive, thought-provoking, cathartic, and all of them together. Not this show though. This was a stand-up with the word 'philosophy' thrown in because the MC used to teach philosophy. And the most philosophical contributions came from the audience. The acts? The acts were not overly sure who Aristotle was. 

Fascinating Aida, V8, 18.00 - I missed them in London in May and relished the chance to see them here. I knew they're good, I didn't realize quite how legendary they are. Going for nigh on 40 years, loads of TV content under their belt, solid solo careers, multi-disciplinary artists, Fascinating Aida are absolute top when it comes to comedy song. And we have recently established that I like comedy song as a genre. I also realized what a simp I am, wanting to see them live after only knowing their most famous song. The one that 'went fungal'. But come on! It is an amazing song!

Medea the Musical, V152, 19.20 - Maria, the director, will be performing at Barons Court in November, so obviously I wanted to see more of her work. I'm glad I did. This is an entertaining production of a deconstructed musical much in the style of Jesus Christ Superstar the movie. At the Fringe, objective conditions force you to go minimalistic more often than not, and when the show requires a higher production value, a Fringe production can feel inadequate. I'd like to see this Medea on a bigger stage. But for what it was, it worked. I hope it's a work in progress because there's lots of room for improvement, but the structure is there. The songs are good, and this is the most important part. The reinterpretation of the Medea myth starts out with a good idea, but it needs more refining. Overall, this is a student production and it feels like it. Having said that, I feel I'm more condescending than maybe I should most times when I say 'student production'.

Tatty McLeod, V515, 21.15 - I know Tatty from TikTok, I wanted to see her anyway, I had her scheduled for tomorrow. But I saw her when running between Gordon Aikman Theatre and Paradise at the Augustine and she convinced me to come to that evening's show. Tatty does a very good job on TikTok, making fun of French and English national stereotypes, but I think she's even better live. With good stage presence, smart and spontaneous, Tatty delivers a funny and well-structured show. Story-telling more than stand-up if you ask me, but you didn't, so there.

And that was my day 1. Early finish and big break in the middle to check in the hotel, Fascinating Aida the highlight.

17 August:

Dr Bubble and Milkshake, V38, 10.10 - Iulia and Kurt were kind enough to invite me to both their shows, and this was a great start to the day! Really, really cute and funny show, with the children in the audience having an absolute blast! Also, perfect way to get children interested in physics.

Joe Wells: I am autistic, V156, 12 - haha! This time I came prepared for Joe Wells and I got in! (jk: I ran between venues and got to the Banshee 2 minutes before the house opened). Either way, I am very glad I saw Joe Wells. His set is absolutely hilarious, better than a lot of stadium comedians. I don't much go for stand-up, I think good stand-up is rather rare, which makes me all the happier when I find it. Paggy was right when she said I should bring him to Barons Court and I'd absolutely love to. Problem is, he's based in Portsmouth.

George Steeves: Love and Sex on the Spectrum, V151, 13.45 - George has just done a run at Barons Court in July, so having programmed him, I knew what to expect. I also knew I won't be able to see the whole show, though I did leave much earlier than I would have liked. George did not disappoint his audience: he's got a disarming honesty and a charming naivety, plus a strong artistic yearning. I've spent July recommending people to come to see this show, and I would not have minded doing the same in August. George's show is important, though often misunderstood: today a couple brought a 9yo into a show called 'Love and Sex' and advertised as 18+, yet they were protesting at the adult content. I wonder if they heard about the show on Grindr.

Looking for me friend: The Music of Victoria Wood, V20, 14.30 - I'm sure I'm not the first one to do the gag, but it was still funny. 'What are you looking for?' the usher asks. 'I'm looking for me friend' 'Yeah, but what show are you trying to see?'. It was alright, we both laughed. Anyway. I wanted to see Paul's show for a while, as I tried pitching him Barons Court as a potential home. Maybe I will again, probably just as unsuccessful. Now... I know nothing of Victoria Wood's work. First time I heard of her was when she died. Apparently, I have heard some of her songs though, reworked by various entertainers. Most of the audience was driven, I assume, by nostalgia, I was there out of curiosity. And got a lesson in recent British history while at it. Might be a little while still until I get fully on board with the humor. But if you're a Victoria Wood fan - unmissable!

Healing+, V152, 16.20 - Mike Lemme invited me to his show as he's on the look - like everyone else - for a producer. Mike wants to perform at Carnegie Hall (which is smaller than I thought, >3000 seats, less than the Palladium). I think he should maybe aim at Madison Square Garden. And while Carnegie Hall is a big financial undertaking, even Barons Court might be a challenge if he has to commute from New York. We'll see. Oh, and he has to cut the word 'gatekeeper' from the show. Kafka hit the nail on the head.

This is Paradise, V15, 18.30 - Of course Amy has amazing write-ups, her acting really lifts the script and she is probably top pick when it comes to Northern Irish actresses. I've known how well she has mastered her craft for years now, so the good reviews are to be expected. But I don't remember seeing such an intense silence in a theatre audience as in the Traverse 2 yesterday, towards the closing moments of This is Paradise. A silence is a silence, it just indicates lack of noise, but I'm not sure we have any way of measuring how INTENT this silent was. Because it was VERY intent. The best illustration of 'on the edge of the seats' I have seen. 

Otherwise, the script is really good, though slightly too long IMHO. Chop a bit of the set-up, the play doesn't really start until Joe's accident anyway.

Bubble Show for Adults Only, V38, 8.45pm - Another amazing moment of this Fringe was at the end of this show, after both performers have been naked on stage and we've seen a number of depictions of sexual intercourse, when Kurt said, at the bows, 'We also do a children show'. Sounds like a gag, but it's for real. I initially thought a bubbles show would appeal more to children, but sitting in yesterday I realised that when soap bubbles are around, we all become children again.

I started writing this Wednesday night. I added This is Paradise and Bubble Show now, Thursday afternoon. Flat & the Curves, last show I saw Wednesday, plus the shows today coming up in my next post.

Mika @ Roundhouse

I knew Mika's music since Grace Kelly became big (circa 2009, if I remember correctly), but I didn't think much of it.

Then I saw him live by accident: went to Lisbon in 2017 to see Bruce Springsteen. Springsteen was headlining the Saturday of Rock in Rio Festival, with Queen & Adam Lambert headlining the Sunday, so might as well. Mika was opening for Queen. It was a performance that came out of nowhere and hit me over the head. In the course of those two hours I became enthralled with the man: silly popsy music for sure, but with a lot more substance than it first appeared, delivered with great energy, knowing exactly how to get the crowd going and throwing a few solid surprises, like the two fado players he met the night before and to whom he offered the stage for a song. Completely unfazed by the 70k-strong crowd, completely unfazed by the legends who were to follow. And the crowd ate off his palm. By comparison, Queen was a rather pale gig and put me off a band I otherwise adore (of course, it would be an entirely different story should Freddie still be alive).

So then I started following him and I don't exactly remember why I didn't go to his 2019 gig in Shepherd's Bush - probably a gig or other of my own - but I know now that I should have. I didn't know what to expect in 2017 - I was expecting Queen. This time around, excited as I was about the gig, I went in with high expectations. I have changed substantially since 2017, Mika might've changed, and besides, the magic and the bane of performing arts is that you cannot tell whether a performance is good or bad until it actually happens.

As it turns out, all of it was overthinking. The man is a great performer and oh boy, did he deliver! I say great, though what I'm thinking is 'one of the greatest'. Strong words, I know, and I know I'm still on a high from the concert, but on the bus home I was thinking of al the remarkable performances I've seen in my life - and I'm lucky enough to have seen a few - and the man is up there. Paul McCartney... of course, it's blasphemy to compare anyone to Paul McCartney and I'm not saying he's as good as Paul McCartney, because how can anyone be? Bob Dylan, same thing. As huge a genius as Dylan is, his performances strike you as weird. As an audience member, you struggle to keep up with what's happening. Rammstein? Take the SFX away and they're just a bunch of weird German dudes singing some slow metal.

No no, this Mika performance tonight was the best live act I've seen since... well, since Mika in 2017, really.

Roundhouse is a great venue, and this no doubt contributed to the experience. The crowd, with a very heavy LGBT presence, was a very mild, very friendly one and, unusual for England, very animated and engaged: everyone was participating from the off, people knew the songs, fans in the know had their choreographies prepared and some have waited a full 24 hours just to be the first in.

And Mika did everything right, though to say it was a performance 'by the book' undervalues it, because no book can teach how to create that little bit of magic, the moments that make a good performance into a great one.

With a minimal set and a relatively standard light rig, but with a lot of attention to detail, this concert has been everything it was expected to be and more. A Londoner for most of his life, Mika managed to connect with the audience at a level inaccessible for those who've never lived in London, and it was, I suppose, a sort of a homecoming, with an international star coming to sing in a venue that is by and large dedicated to emerging artists.

The good songs, the energy, the perfect delivery, well-thought-through choreography and immaculate costumes, all of it are elements for a great gig. But the most important is, Mika is genuine. It makes a performance failsafe, when the artist opens up fully to his audience, holds nothing back and leaves his soul as bare as vulnerable as it can ever be. Frightful, I'm sure, especially when you share a very personal story of being stranded away from your sick mom to a few thousand strangers, but what a show of strength! And how much bigger is the reward, for artist and audience alike!

I've said this to many people, people who know me and know that Mika is maybe not necessarily my kind of music: do not discount the guy, do not take him lightly, go and see him live if you ever get the chance. You're missing out otherwise.

Those Mika hardcore fans, the ones who bring their paper hearts with them, the ones who queue up 24 hours before and the ones who deliver flowers to his dressing rooms, they're not deluded. They're on to something. They know something you don't know. Because you've never seen Mika live. Go and correct that mistake!

A Portrait of Zelensky

First I heard of Tanya Vorontsova on a Facebook group for Romanians trying to help Ukrainians fleeing the war. She was trying to sell a few paintings, and her message caught my eye. Not only because it was unusual, but also because of an underlying despair.

I messaged Tanya and asked about her story. Through broken English and partial responses, I think I have reconstructed most of her story since February: she is a commission painter based in Kharkiv but was in St Petersburg when war broke out. Unable to go back to Kharkiv and afraid to stay in St Petersburg, she headed for Finland and lived for a couple of months in a refugee camp outside Helsinki. With no access to her studio or her paintings back home, with no tools or materials to keep painting, and only three canvases in her luggage, I cannot begin to imagine what life must look like.

I offered to send her some money. She said no, but accepted that I'd buy a painting from her. My favorite, the portrait of Volodymyr Zelensky you can see here, was back in Kharkiv, so she had to redo it. I send her half of the money before, the other half on delivery. I hope it helped.

And yesterday I received the painting, which I absolutely love. 

Tanya is currently in a refugee camp near Zurich. I didn't understand why she had to leave Helsinki, my understanding is she is trying to reunite with her son, then move to Canada together. I wish I could help her more. So here's what I'm gonna do:

I will start an auction for the portrait of Volodymyr Zelensky, from today until 1 August. It's oil on canvas, 100 x 70 cm. All of the money will be used to help Ukrainian artists fleeing from war. Biddings will be received on multiple channels, but I will keep them all updated with the current front-runner. The auction starts at £1,000. The price of postage and packaging will be added to the final offer.

Please spread the word. And if you're not interested in Zelensky's portrait, please check Tanya's other work: https://www.instagram.com/vorontsovaart/

You can also buy t-shirts with the painting, get in touch with Tanya directly if you want to: https://www.instagram.com/p/CbzTqJNMw_S/

Needless to say, all the money will go a long way towards helping someone rebuild their life.

Nebunii

Ioana Nicolaie - Pelinul Negru, Humanitas 2017

Pelinul Negru e povestea primilor ani de scoala ai Augustinei Bulta, o fata nascuta la cateva luni de la explozia centralei atomoelectrice din Cenobil. Augustina traieste in nordul Romaniei, intr-un oras de munte, probabil Sangeorzul nativ al Ioanei Nicolaie, dar citind romanul am recunoscut multe din cliseele copilariei mele, cliseele primilor ani de dupa comunism.

Insirate pe hartie, se citesc ca un lung pomelnic de barbarisme, de situatii specifice unui stat esuat si unei societati in paragina, lucruri pe care le-am vazut de aproape in copilaria mea, pe care nu le doresc nimanui si despre care sunt recunoscator ca am avut norocul istoric sa le depasim. Ce e interesant insa e ca am citit cartea destul de detasat emotional, recunoscand atat situatiile, cat si viata interioara a protagonistei, dar fara sa fiu prea miscat de ele. Pana aproape de ultimele pagini. Si cred talentul scriitoricesc al Ioanei Nicolaie e cel care m-a facut sa fiu atat de miscat de unul din cele mai banale evenimente ale Romaniei post-comuniste. Copilul speriat de taierea porcului e un tablou care a tot fost descris in literatura romana si un fapt despre care se poarta frecvent discutii la mai toate nivelele de varsta si profunzime. Un fapt care, descris intr-un roman, nu pare sa mai aiba suficienta seva artistica incat sa poata misca cititorul. Ei bine, sfarsitul Guitului familiei Bulta reuseste sa aiba acelasi efect sfasaietor ca despartirea autorului de Micul Print in romanul omonim.

Si asta e un mare compliment, Micul Print e cartea mea preferata. Dar da, periplul Augustinei prin lumea literelor care nu stau locului si prin societatea care incearca sa se regaseasca pe sine imbina elemente din Micul Print (de unde motivul prieteni vulpe e furat fara rusine si, am impresia, si fara justificare) si din Flori pentru Algernon. Augustina e un Charlie Gordon de Romania, fara norocul de a cunoaste performanta academica, dar cu speranta ca teritoriul nu-i este complet interzis.

Astept cu nerabdare sa citesc mai mult din... saga Rodnei? Trilogia familiei Bulta? Nu stiu cum sa-i spun, pentru ca Ioana Nicolaie nu i-a dat nici un titlu, si nici nu da vreo indicatie in ce fel romanele s-ar lega intre ele. Dar Cartea Reghinei si Tot Inainte sunt si ele pe lista mea, si o sa am un verdict mai clar asupra povestii familiei Bulta odata ce le citesc. Pana atunci, ma bucur sa gasesc in Augustina o protagonista feminina a literaturii romane, scrisa de o femeie si care nu se defineste in nici un fel prin raportarea la masculin, nu-si vede rolul in lume ca purtatoare de copii si obiect al placerii masculine. Suna banal, dar nu prea am reusit sa gasesc multe alte personaje asemenea in literatura romana. Sper ca mai sunt, in special in literatura romana recenta, si ca n-am reusit sa le gasesc pentru ca n-am citit eu suficient, nu pentru ca-s asa rare. S-ar putea face un caz pentru Vitoria Lipan si, intr-adevar, ea e prima oprire pentru cine cauta femei puternice in literatura romana, dar lumea in care se misca Vitoria e una a barbatilor. In lumea Augustinei barbatii exista, dar sunt o chestie cu care mai degraba nu vrei sa interactionezi. Si pe buna dreptate.

In rest, Ioana Nicolaie merge cu pedala lirica apasata tot timpul, uneori chiar prea tare. Povestea e spusa la persoana intai, iar ochii Augustinei sunt un filtru prin care cititorul primeste o lume diferita de experienta senzoriala cu care e obisnuit, o lume pe care trebuie s-o traduca inainte s-o inteleaga. Ceea ce e bine, efortul te tine angajat in poveste, iar faptul ca nici personajul, nici autoarea nu simt vreo obligatie de a explica tot ce se intampla face lumea romanului foarte reala. Augustina e dislexica sau doar usor intarziata? Cat de mult a afectat-o Cernobil? Cat de mult i-a afectat familia Cernobil? Putem sa intuim, putem sa ghicim, dar nu stim cu siguranta. Iar explicatii suplimentare nu ne datoreaza nimeni.

Euro 2021 - Un Estate Italiana

Italy - England 1-1 (3-2 penalties)

When all is said and done, you know this is a good outcome. Italy was the best team of the tournament - by some distance - and deserved to win. Not only that, they brought with them the track record that is the bread and butter of football pundits (however many games undefeated, however many consecutive victories) and left us with plenty of stuff to make legends of. Whether you want to go with Chiellini's smile in tense moments, with the father-son Chiesa symmetry, with the best winger injured in the key moment or with whatever else, plenty to choose from in Italy's trajectory in this Euro. They have, as expected of a tournament winner, furthered the game of football.

And England? Punching above their weight, first time in donkey's years in a tournament final, young time, coming back stronger, plenty of feel-good stories the media can use for the nation's ailment. And a tad less vandalism tonight, and quiet streets. All positives, really.

There was a time, I think during the first half of extra time, when I was like... 'You know what? England can actually have it. I wouldn't even mind that much.' It wouldn't have been right, but life seldom is. In purely footballing terms, coming into the game, it could've gone either way. It's true that Italy played the best football, and us neutrals were right to fall in love with their football right from the first game against Turkey, but they have also constantly lost speed. 3-0, 3-0, but then only 1-0 against Wales. Conceded their first goal against Austria. 1-2 against Belgium, too tight for comfort. And they needed penalties to beat Spain.

England, on the other side, have played relatively boring football, although I think they would call it 'pragmatic' in this country. Crowd the center, don't concede, then snatch what you can. Worked in group stages and worked against Germany. Then Ukraine's game plan crumbled faster than their defense in front of Russia's forced annexation of Crimea and against Denmark, well... Let's just say Sterling has been too much of an asset thus far and felt the need to even things out with the run, dive and beg style of football he is known for. Denmark was the unlucky victim, but it was all about the bottom line by now. After all, it's the hopes of a nation we're talking about, and if they only live at the expense of another's hopes well, we only care about ours anyway. Besides, if anyone can complain about other teams winning ugly, Italy is not it.

Wembley, Wembley, do you know how we get to Wembley? was the word on the street, and on every train platform in London. And Wembley, overflowing with people and hope since this morning, must've been quite a sight in the second minute when Luke Shaw scored the first goal. I suppose I should be happy for Shaw, Manchester United player innit. More on that later.

For know, the acknowledgment that it was a good goal, brilliant run down the wing from Shaw, inspired (albeit a tad lucky) cross from Trippier and a cold-blooded shot to leave Donnarumma stunned. Italy took a while to get into the game and frankly, I thought the first half was the poorest I've seen from them the whole tournament. They only started to get into the game after some 10-15 minutes, and even then, it felt like they're afraid to attack. They were refusing to throw men forward, every run down the wings ended in nothing as there was no one in the box to receive the ball, Immobile didn't really feel like a striker and the midfield line was staying back even with the ball and with space ahead of them.

Slightly different story in the second half, when they started pushing more and more, led largely by a very lively Chiesa. And the goal did come, halfway through the second half. Scored by another defender, sweet irony. Maybe because, just as no one expected Luke Shaw to be in the box for the first goal, no one really expected Chiellini and Bonucci can combine in the opposite box with the same ease they do in theirs. It was kind of clumsy, the kind of goal scored by willpower rather than skill. I doubt Bonucci's gonna care.

The closing minutes of regular time were fairly evenly balanced, with both teams having chances and none of them very serious. Italy was huffing and puffing, Chiellini had to pull down Saka as to outrun him was inconceivable by that point, and when it become clear that we're heading to extra time it became just as clear that it was a case of Italy resisting rather than hoping to score.

Maldini used his substitutions smartly though, Bernardeschi, Belotti and Locatelli provided enough physical freshness for Italy to have the best chances during extra time. Southgate, for all the good he's done with this England team, really blew the game with the extra time substitutions. Kept Sterling in although he was obviously tired, shifted some positions about without being very clear on why, and kept some of his best players on the bench until way too late.

Obviously, sofa management is much easier than on-pitch management and it's cliche to say that the players on the bench are better. The substitutions might've looked like a good idea at the time. But even so... you're putting Rashford and Sancho in for 2-3 minutes hoping you can snatch something, but have them hit penalties? Why not Kalvin Phillips or Sterling, players whose adrenalin levels were high enough to suppress the nerves of the shootout. When you haven't warmed up properly and you have to hit that perfect penalty, you tend to think about it a bit more. And that little bit of extra thinking, of contemplating the ways in which it can go wrong, might just pour a bit of lead into the feet. And that bit of lead might make a couple of inches difference between a goal and hitting the post. Especially when the manager asked you to come on for three times before actually sending you on.

In a way, I'm glad it was our boys who blew it. Part of the reason why I can't bring myself to support England is the abuse United players have had to endure at Wembley historically. At least since Beckham's red card against Argentina in 1998, though probably earlier as well. Sure, United hasn't won as many things in recent times and have thus become somewhat less harmful, less worthy as an object of hatred. But you just wait until the first derby, and media and fans alike will be quick in remembering the Rashford and Sancho misses in the Euro final. To which I say, let them hate us. Or, to paraphrase a well respected England legend: 'Fuck it, it's only England!'

There is much to explore in the psychological and sociological layers of my dislike for England's national team, especially coming from a position of supporting them, and introspections will take place. Perhaps I will change opinion; I will admit that Southgate has done a magnificent job and turned the team from eternal also-rans into serious contenders. With this progression, and with the wealth of young talent available, a major win might well be in England's future. But for now, a European final is just about right. Enough to instill hope and goodwill in the nation, enough to provide comedy material for a continent still struggling to understand these weird islands off the coast of France. 

Let England be England. Tonight, and the next days's headlines, should rightly belong to mister Chiellini, mister Bonucci and their colleagues. The dude who got his medal in crutches, the dude from Sassuolo, the kid with a famous footballing father, and all the others. Theirs is the cup, theirs is the glory. And Wembley was a class act tonight for playing Un Estate Italiana for the trophy presentation.