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Madonna has reacted with fury after London Palladium dropped the curtain and shut the sound off before the end of her live show on Wednesday night (5 February).

The singer posted a video of the show on her Instagrampage, in which she can be heard shouting, Censorship. Motherf***ing censorship. Artists are here to disturb the peace. F*** you, as the curtain falls.

Alongside the video, Madonna wrote: It was 5 minutes past our 11:00 curfew we had one more song to do and The Palladium decided to censor us by pulling down the metal fire curtain that weighs 9 tons."

Sharing the full story, not just the headlines

She added: "Fortunately they stopped it half way and no one was hurt.............. Many Thanks to the entire Audience who did not move and never left us. Power to The People!! #Irise #ongod #madamextheatre #thelondonpalladium.

The long gone Rainbow in Londons Finsbury Park was one of the great rock venues, and though I was young at the time it would be impossible to forget the impact of Bowie in one of his first outings as Ziggy Stardust. They havent even finished building the stage, I said with breathtaking naievety to the person next to me, on observing the scaffolding and ladder. Of course, it was all part of the Ziggy theatrics, a show that began with David/Ziggy walking out to the drums of Five Years and continued with mime, flamboyance and songs that have all become classics. I remember his appearance being heralded by music from Beethovens Ninth (also used in A Clockwork Orange, the film being current at the time). In those years Bowie always used it as his theme music. I also remember being blown away by the support act a fresh, imaginative outfit called Roxy Music. (David Lister)

Getty

Truly charismatic performers leave an indelible impression and I marvelled at the way Chuck Berry had the crowd in the palm of his hand when I saw him in the 1970s. But few could match Dolly Parton in her prime for her larger-than-life enthusiasm and sheer sense of fun. When the country superstar came to Londons Dominion Theatre in 1983, she played some mean finger-picking banjo, sang beautifully, especially on an a capella version of Do I Ever Cross Your Mind? and even did an Elvis impression. Her concert was filmed for a video release and about half an hour after the crowd had left in, they brought in a large group of young punks and Goths (to intercut into crowd shots) and suggest an edgy young following. Happily, I had stayed around and saw her deliver this impromptu extra set, which was full of risqu jokes and blue banter. Theres no one quite like her. (Martin Chilton)

Rex

You dont usually realise youre present at what will become a moment in history. But that sunny July afternoon at Wembley Stadium felt special right from the off, even if the off was Status Quo doing Rockin All Over The World. There were numerous stand-out moments; perhaps on paper the biggest was the return of Paul McCartney, topping the bill after nearly five years self-enforced absence from high-profile performing following the shooting of John Lennon. Somewhat sadly the sound failed for part of Let It Be, but we can draw a veil over that. The most stunning set of the day came from Queen: a high energy medley through Bohemian Rhapsody and Radio Ga Ga to We Will Rock You and We Are The Champions. No one fired up the crowd quite as much that day. And since the band had not been at their most visible around that time, this proved to be their resurrection. (David Lister)

Blues titan BB King released two of the greatest concert albums of the 20th-century in Live at the Regal (1964) and Live in Cook County Jail (1971). Even though he was 60 when I saw him at Londons Hammersmith Odeon in 1985, he was still full of energy. He sang with passion and his guitar work was transcendent, especially on gloriously funky version of The Thrill is Gone. I skipped my graduation ceremony for the concert and had the good fortune to bump into an old family friend called Ray Bolden, who had worked at Dobell's Record Shop in Charing Cross Road. King's face lit up to see Ray, who had put him up in his London flat in the 1950s. The blues superstar could not have been friendlier, despite his tiredness after a long gig. Seeing Muddy Waters live in 1979 was special but BB King at full power, bending guitar notes like no one else, topped even that. (Martin Chilton)

AP

When The Jesus & Mary Chain reached the status of noisenik godheads with their fourth album Honeys Dead in 1992, they decided to put together a visceral modern rock revue tour called Rollercoaster thats still ringing in my ears almost 30 years on. Of the three revolving support acts, Blur opened the night, mid-transformation from baggy latecomers to art-pop pioneers. With Damon Albarn flinging himself wildly around the stage and clambering up amp stacks, they premiered ferocious second-album character studies like Colin Zeal while screening films of the journey of meat from slaughterhouse to defecation, in reverse. Most crucially, with their all-horns-blazing new single Popscene, they kick-started Britpop right before our eyes. The Mary Chain, meanwhile, were at peak malicious, I left with my skull buzzing, my eyes opened and my tastes re-arranged, convinced I'd seen the new music, and I had. A gig that didnt just make my night, it made me. (Mark Beaumont)

Getty

When Pixies came onto a London stage on my birthday in 2004 and played Pixies songs and music just doesnt get better than that it was pure relief, euphoria and dark-hearted epiphany. Tame sent me feral, Gigantic was titanic, Bone Machine crushed out my marrow. Black Francis snarled, barked and ranted through Gouge Away, Monkey Gone To Heaven and Debaser, every bit the demented pervert preacher he ever was; Kim Deals angelic coos and bass melodies made an unholy pact with Joey Santiagos werewolf guitar riffs, seemingly played with a plectrum made of Satans fingernail. Of their four Brixton dates that week, I lost every ounce of my s*** at three. Best gigs ever, no particular order.(Mark Beaumont)

EPA

North Londons tiny and now-defunct, Buffalo Bar in the 2000s, hosted early gigs from the likes of Bloc Party, The Libertines, The Maccabees or Foals. Their show took place 14 months before the release of their debut album Antidotes, and it justified their precocious reputation as a live act. That night, the energy of their high-octane math-rock was infectious; its not often that you see a band in their earliest days and know that this is probably the last time youll be able to reach out and touch them. The songs followed: "The French Open", "Balloons", "Hummer, Mathletics, all fuelled by astoundingly complex polyrhythms, interweaving staccato synths and guitar played high on the fretboard in angular electro harmonies, set to punk-disco techno beats and urgent "new wave" vocals. Id never seen a rock gig so precisely engineered (a sticker on the synth read "Math is for Everyone"), yet so exhilarating. There was a true sense wed discovered something great. (Elisa Bray)

Rex

Problematic in every way given singer Alice Glasss October 2017 statement accusing her former bandmate Ethan Kath of sexual abuse, non-consensual sex and controlling behaviour, but this short set in front of a small crowd in a Camden bar was proof that when a performer truly plugs into the mother lode, the intensity they generate can burn itself into your retinas and shake your soul. Glass was 19 years old, and for most of the set just a blur of spectral movement frozen into violent shapes by an almost incessant strobe; singing, shouting and screaming her way through songs such as Courtship Dating. The result was a reminder that whenever one of your heroes gets on stage to try to channel that primal essence of rock n roll or whatever the hell it is most of the time, theyre just trying to find an echo of something that once flowed through them. That can go on for 50 years or more. Theres sadness now in the memory, but on this day in April 2008, Glass had it. (Chris Harvey)

PA

It used to be that rocknroll was a young persons game; anyone over the age of 50 still tearing it up on stage needed to calm down and have a word with themselves. Nick Cave, the latter-day harbinger of the apocalypse still identifiable by his raven hair and pallbearers suit, has consistently shown us the idiocy of this thinking. Ive seen Cave perform scores of times and he has never let me down, but this show, which coincided with the release of the album Dig!!! Lazarus Dig!!!, was a whole new level of spectacular: funny, furious, life-affirming, heavy on the biblical melodrama. Alongside the Bad Seeds, then operating as a seven-piece coolly attired in suits, open-necked shirts and slicked-back hair, Cave showed how musical talent can deepen rather than ebb in mid-life, and how he was and indeed remains untouchable in terms of intellect, charisma and sheer feral energy. (Fiona Sturges)

Rex

Leonard Cohen steps onto the stage, dressed in grey shirt and tie, black waistcoat, trilby concealing his white hair. It's sweltering. And yet Cohen, in his mid Seventies, is barely breaking into a sweat. Much like his attire, the songs - such as "Dance Me to the End of Love" and "So Long, Marianne" are immaculate, his voice no longer a wail but a raw, rumbling baritone. The Spanish sun is beating down and my friends and I are genuflecting before one of the greatest lyricists of all time. This was to be the only time I saw him live and no performance has ever, in terms of pure emotional intensity, targeted me with such laser-guided precision as his rendition of "Hallelujah". The song's been covered by everyone from Jeff Buckley to Alexandra Burke, but sung by him that day, it's surely never felt as moving. (Patrick Smith)

Getty

The great Sixties and Seventies soul singers are nearly all gone now, and I doubt well ever see their like again. Bobby Womack had recovered from colon cancer but was in the early stages of Alzheimers Disease, and less than a year from his death in June 2014, when he played the UK in the summer of 2013. He came on stage on a sunny Saturday afternoon at the Latitude festival, to play songs from his brilliant comeback album, The Bravest Man in the Universe, to a basking, picnicking audience. All soul singers come from gospel, he told them. Womacks voice still seemed like a gift from God. The years of cocaine addiction hadnt altered its richness and warmth. To be in the presence of Womack that day, knowing it would likely be the last time, was very special.(Chris Harvey)

PA

Most rockstars, terrified of seeming to be trying too hard, would never dream of hiring a choreographer. But St Vincent, AKA Annie Clark, is no ordinary rockstar. For her Digital Witness tour, the musician recruited Annie B Carson to help her dream up a procession of strange, shuffling moves to perform alongside her brilliant self-titled fourth album. At End of the Road Festival a small, Dorset delight which she had played with David Byrne a year earlier her headline set was scuzzy, eccentric, and thrilling. At one point, without missing a lick on her guitar, she rolled herself down an oversized flight of white stairs like a glitching robot. Then again, no robot can play guitar like that. (Alexandra Pollard)

Getty

After 35 years away from the stage it was a moment Kate Bush fans never thought would happen. Beforehand, I was reporting from outside the venue for NME and the excitement and energy was extraordinary, like nothing I've ever experienced. One woman told me it would be fine if she died after the gig because she would die happy. The show started with a "greatest hits" section. And then it all got a bit more, well, Kate Bush, with a dramatic adaptation of "The Ninth Wave". Sinking ships, confetti cannons, surreal fish people and a soliloquy about sausages. Act three was more pastoral. The second side of "Aerial", "The Sky of Honey", was performed in front of the most beautiful visuals I've ever seen: birds, a red sun, a moon tilting on its axis and then Kate suspended into the air. Pure theatre. As we filed out, there was a sense that the audience was stunned. I still am. (Lucy Jones)

Rex

Patti Smith was celebrating the 40th anniversary of her seminal 1975 album Horses at Field Day in Victoria Park, London, 2015. The sky was a perfect blue, and the sun was still blazing hot at 7pm. Im sorry about the dark glasses, Smith said by way of introduction. Im not trying to be cool, its just, you know the sun. Youre the f***ing coolest! a fan screamed back. From there, she and her band, including long-serving guitarist Lenny Kaye, embarked on a blistering set that had myself, and many other audience members, in tears. Smith is a ferocious performer, she spat and snarled and howled; tearing up her guitar as though it just insulted one of her favourite poets. It didnt matter if she messed up, as she did on Break it Up, because she offered the instantly immortal words: I dont do nothing perfect. I only f*** up perfect. You felt you were in the presence of something momentous. (Roisin OConnor)

Getty Images

When DAngelo released his surprise third record the politically fraught Black Messiah it ended the 14-year hiatus that followed 2000s Voodoo. It also reminded music fans that the American hip-hop artist was still as monumentally talented as he was back then. Accompanied by his eight-strong band The Vanguard, his show at the Hammersmith Apollo was a visceral, quasi-religious experience. Jesse Johnson, formerly of Prince-produced outfit The Time, added funky hooks to Sugah Daddy, while legendary bassist Pino Palladino took time out from The Who's live shows to join in the fun. At one point DAngelo led a classic James Brown funk staple, holding three fingers in the air so the band could respond with three loud vamps. One encore was followed by a second that broke the curfew with free abandon, until DAngelo was left on stage alone, reflective and blissful. It inspired a divine kind of worship, for a show that was appropriately titled "The Second Coming". (Roisin OConnor)

Corbis

A week before she played Brighton, I reviewed Lordes Alexandra Palace show in London. It was a five-star performance the New Zealand musician exorcised the pain of the break-up she'd chronicled on her brilliant second album Melodrama, twitching and twirling as an abstract house party played out in glass boxes around her. The stage design was so good, in fact, that Kanye West may or may not have nicked it a year later. Seeing her in Brighton the following week, without a notepad in my hand, I saw even more clearly all the intimate nuances of her performance and was free to give in entirely to the exhilarating, heartbreaking melodrama of it all. (Alexandra Pollard)

Getty Images

When youve been going to gigs for decades, you tend not to expect anything new, just variations some mind-blowing, others not on what you have seen before. So when I saw David Byrnes American Utopia show, it felt like stumbling on the Ark of the Covenant. Here was a man who had been working in music for 40 years completely redrawing the rules of pop performance no drum riser, no cables, no visible amps or microphones and taking it deep into the territory of experimental theatre. In opposition to the usual freeform live music set-up, this tour was the result of fastidious planning, with everything rehearsed to the last nanosecond. And yet, forever on the move, dressed in matching grey suits and dancing barefoot in formation, Byrne and his 12-piece band were loose-limbed, unfettered and joyous to watch. And the music was pretty great too. (Fiona Sturges)

EPA

Before her short run at Hammersmith Apollo last year, Hlose Letissier known as Christine and the Queens, though she dropped all but the "Chris" for her second album tweeted: I think we finally have some surprises for those who come to the shows! She delivered on that promise falling snow and sand, and a balcony homage to Romeo and Juliet as she redefined what a pop show could be. With a gender-fluid cohort of athletic dancers, she brought to theatrical life her tumultuous journey towards embracing her pansexual identity, and finding liberation. And we went through all those emotions with her, those alternately tender and powerful vocals never faltering despite the restless dance routines. Everyone was on their feet dancing, and her declaration of inclusivity could not have been more empowering: Vive everyone! We left thrilled and elated. (Elisa Bray)

REX

The long gone Rainbow in Londons Finsbury Park was one of the great rock venues, and though I was young at the time it would be impossible to forget the impact of Bowie in one of his first outings as Ziggy Stardust. They havent even finished building the stage, I said with breathtaking naievety to the person next to me, on observing the scaffolding and ladder. Of course, it was all part of the Ziggy theatrics, a show that began with David/Ziggy walking out to the drums of Five Years and continued with mime, flamboyance and songs that have all become classics. I remember his appearance being heralded by music from Beethovens Ninth (also used in A Clockwork Orange, the film being current at the time). In those years Bowie always used it as his theme music. I also remember being blown away by the support act a fresh, imaginative outfit called Roxy Music. (David Lister)

Getty

Truly charismatic performers leave an indelible impression and I marvelled at the way Chuck Berry had the crowd in the palm of his hand when I saw him in the 1970s. But few could match Dolly Parton in her prime for her larger-than-life enthusiasm and sheer sense of fun. When the country superstar came to Londons Dominion Theatre in 1983, she played some mean finger-picking banjo, sang beautifully, especially on an a capella version of Do I Ever Cross Your Mind? and even did an Elvis impression. Her concert was filmed for a video release and about half an hour after the crowd had left in, they brought in a large group of young punks and Goths (to intercut into crowd shots) and suggest an edgy young following. Happily, I had stayed around and saw her deliver this impromptu extra set, which was full of risqu jokes and blue banter. Theres no one quite like her. (Martin Chilton)

Rex

You dont usually realise youre present at what will become a moment in history. But that sunny July afternoon at Wembley Stadium felt special right from the off, even if the off was Status Quo doing Rockin All Over The World. There were numerous stand-out moments; perhaps on paper the biggest was the return of Paul McCartney, topping the bill after nearly five years self-enforced absence from high-profile performing following the shooting of John Lennon. Somewhat sadly the sound failed for part of Let It Be, but we can draw a veil over that. The most stunning set of the day came from Queen: a high energy medley through Bohemian Rhapsody and Radio Ga Ga to We Will Rock You and We Are The Champions. No one fired up the crowd quite as much that day. And since the band had not been at their most visible around that time, this proved to be their resurrection. (David Lister)

Blues titan BB King released two of the greatest concert albums of the 20th-century in Live at the Regal (1964) and Live in Cook County Jail (1971). Even though he was 60 when I saw him at Londons Hammersmith Odeon in 1985, he was still full of energy. He sang with passion and his guitar work was transcendent, especially on gloriously funky version of The Thrill is Gone. I skipped my graduation ceremony for the concert and had the good fortune to bump into an old family friend called Ray Bolden, who had worked at Dobell's Record Shop in Charing Cross Road. King's face lit up to see Ray, who had put him up in his London flat in the 1950s. The blues superstar could not have been friendlier, despite his tiredness after a long gig. Seeing Muddy Waters live in 1979 was special but BB King at full power, bending guitar notes like no one else, topped even that. (Martin Chilton)

AP

When The Jesus & Mary Chain reached the status of noisenik godheads with their fourth album Honeys Dead in 1992, they decided to put together a visceral modern rock revue tour called Rollercoaster thats still ringing in my ears almost 30 years on. Of the three revolving support acts, Blur opened the night, mid-transformation from baggy latecomers to art-pop pioneers. With Damon Albarn flinging himself wildly around the stage and clambering up amp stacks, they premiered ferocious second-album character studies like Colin Zeal while screening films of the journey of meat from slaughterhouse to defecation, in reverse. Most crucially, with their all-horns-blazing new single Popscene, they kick-started Britpop right before our eyes. The Mary Chain, meanwhile, were at peak malicious, I left with my skull buzzing, my eyes opened and my tastes re-arranged, convinced I'd seen the new music, and I had. A gig that didnt just make my night, it made me. (Mark Beaumont)

Getty

When Pixies came onto a London stage on my birthday in 2004 and played Pixies songs and music just doesnt get better than that it was pure relief, euphoria and dark-hearted epiphany. Tame sent me feral, Gigantic was titanic, Bone Machine crushed out my marrow. Black Francis snarled, barked and ranted through Gouge Away, Monkey Gone To Heaven and Debaser, every bit the demented pervert preacher he ever was; Kim Deals angelic coos and bass melodies made an unholy pact with Joey Santiagos werewolf guitar riffs, seemingly played with a plectrum made of Satans fingernail. Of their four Brixton dates that week, I lost every ounce of my s*** at three. Best gigs ever, no particular order.(Mark Beaumont)

EPA

North Londons tiny and now-defunct, Buffalo Bar in the 2000s, hosted early gigs from the likes of Bloc Party, The Libertines, The Maccabees or Foals. Their show took place 14 months before the release of their debut album Antidotes, and it justified their precocious reputation as a live act. That night, the energy of their high-octane math-rock was infectious; its not often that you see a band in their earliest days and know that this is probably the last time youll be able to reach out and touch them. The songs followed: "The French Open", "Balloons", "Hummer, Mathletics, all fuelled by astoundingly complex polyrhythms, interweaving staccato synths and guitar played high on the fretboard in angular electro harmonies, set to punk-disco techno beats and urgent "new wave" vocals. Id never seen a rock gig so precisely engineered (a sticker on the synth read "Math is for Everyone"), yet so exhilarating. There was a true sense wed discovered something great. (Elisa Bray)

Rex

Problematic in every way given singer Alice Glasss October 2017 statement accusing her former bandmate Ethan Kath of sexual abuse, non-consensual sex and controlling behaviour, but this short set in front of a small crowd in a Camden bar was proof that when a performer truly plugs into the mother lode, the intensity they generate can burn itself into your retinas and shake your soul. Glass was 19 years old, and for most of the set just a blur of spectral movement frozen into violent shapes by an almost incessant strobe; singing, shouting and screaming her way through songs such as Courtship Dating. The result was a reminder that whenever one of your heroes gets on stage to try to channel that primal essence of rock n roll or whatever the hell it is most of the time, theyre just trying to find an echo of something that once flowed through them. That can go on for 50 years or more. Theres sadness now in the memory, but on this day in April 2008, Glass had it. (Chris Harvey)

PA

It used to be that rocknroll was a young persons game; anyone over the age of 50 still tearing it up on stage needed to calm down and have a word with themselves. Nick Cave, the latter-day harbinger of the apocalypse still identifiable by his raven hair and pallbearers suit, has consistently shown us the idiocy of this thinking. Ive seen Cave perform scores of times and he has never let me down, but this show, which coincided with the release of the album Dig!!! Lazarus Dig!!!, was a whole new level of spectacular: funny, furious, life-affirming, heavy on the biblical melodrama. Alongside the Bad Seeds, then operating as a seven-piece coolly attired in suits, open-necked shirts and slicked-back hair, Cave showed how musical talent can deepen rather than ebb in mid-life, and how he was and indeed remains untouchable in terms of intellect, charisma and sheer feral energy. (Fiona Sturges)

Rex

Leonard Cohen steps onto the stage, dressed in grey shirt and tie, black waistcoat, trilby concealing his white hair. It's sweltering. And yet Cohen, in his mid Seventies, is barely breaking into a sweat. Much like his attire, the songs - such as "Dance Me to the End of Love" and "So Long, Marianne" are immaculate, his voice no longer a wail but a raw, rumbling baritone. The Spanish sun is beating down and my friends and I are genuflecting before one of the greatest lyricists of all time. This was to be the only time I saw him live and no performance has ever, in terms of pure emotional intensity, targeted me with such laser-guided precision as his rendition of "Hallelujah". The song's been covered by everyone from Jeff Buckley to Alexandra Burke, but sung by him that day, it's surely never felt as moving. (Patrick Smith)

Getty

The great Sixties and Seventies soul singers are nearly all gone now, and I doubt well ever see their like again. Bobby Womack had recovered from colon cancer but was in the early stages of Alzheimers Disease, and less than a year from his death in June 2014, when he played the UK in the summer of 2013. He came on stage on a sunny Saturday afternoon at the Latitude festival, to play songs from his brilliant comeback album, The Bravest Man in the Universe, to a basking, picnicking audience. All soul singers come from gospel, he told them. Womacks voice still seemed like a gift from God. The years of cocaine addiction hadnt altered its richness and warmth. To be in the presence of Womack that day, knowing it would likely be the last time, was very special.(Chris Harvey)

PA

Most rockstars, terrified of seeming to be trying too hard, would never dream of hiring a choreographer. But St Vincent, AKA Annie Clark, is no ordinary rockstar. For her Digital Witness tour, the musician recruited Annie B Carson to help her dream up a procession of strange, shuffling moves to perform alongside her brilliant self-titled fourth album. At End of the Road Festival a small, Dorset delight which she had played with David Byrne a year earlier her headline set was scuzzy, eccentric, and thrilling. At one point, without missing a lick on her guitar, she rolled herself down an oversized flight of white stairs like a glitching robot. Then again, no robot can play guitar like that. (Alexandra Pollard)

Getty

After 35 years away from the stage it was a moment Kate Bush fans never thought would happen. Beforehand, I was reporting from outside the venue for NME and the excitement and energy was extraordinary, like nothing I've ever experienced. One woman told me it would be fine if she died after the gig because she would die happy. The show started with a "greatest hits" section. And then it all got a bit more, well, Kate Bush, with a dramatic adaptation of "The Ninth Wave". Sinking ships, confetti cannons, surreal fish people and a soliloquy about sausages. Act three was more pastoral. The second side of "Aerial", "The Sky of Honey", was performed in front of the most beautiful visuals I've ever seen: birds, a red sun, a moon tilting on its axis and then Kate suspended into the air. Pure theatre. As we filed out, there was a sense that the audience was stunned. I still am. (Lucy Jones)

Rex

Patti Smith was celebrating the 40th anniversary of her seminal 1975 album Horses at Field Day in Victoria Park, London, 2015. The sky was a perfect blue, and the sun was still blazing hot at 7pm. Im sorry about the dark glasses, Smith said by way of introduction. Im not trying to be cool, its just, you know the sun. Youre the f***ing coolest! a fan screamed back. From there, she and her band, including long-serving guitarist Lenny Kaye, embarked on a blistering set that had myself, and many other audience members, in tears. Smith is a ferocious performer, she spat and snarled and howled; tearing up her guitar as though it just insulted one of her favourite poets. It didnt matter if she messed up, as she did on Break it Up, because she offered the instantly immortal words: I dont do nothing perfect. I only f*** up perfect. You felt you were in the presence of something momentous. (Roisin OConnor)

Getty Images

When DAngelo released his surprise third record the politically fraught Black Messiah it ended the 14-year hiatus that followed 2000s Voodoo. It also reminded music fans that the American hip-hop artist was still as monumentally talented as he was back then. Accompanied by his eight-strong band The Vanguard, his show at the Hammersmith Apollo was a visceral, quasi-religious experience. Jesse Johnson, formerly of Prince-produced outfit The Time, added funky hooks to Sugah Daddy, while legendary bassist Pino Palladino took time out from The Who's live shows to join in the fun. At one point DAngelo led a classic James Brown funk staple, holding three fingers in the air so the band could respond with three loud vamps. One encore was followed by a second that broke the curfew with free abandon, until DAngelo was left on stage alone, reflective and blissful. It inspired a divine kind of worship, for a show that was appropriately titled "The Second Coming". (Roisin OConnor)

Corbis

A week before she played Brighton, I reviewed Lordes Alexandra Palace show in London. It was a five-star performance the New Zealand musician exorcised the pain of the break-up she'd chronicled on her brilliant second album Melodrama, twitching and twirling as an abstract house party played out in glass boxes around her. The stage design was so good, in fact, that Kanye West may or may not have nicked it a year later. Seeing her in Brighton the following week, without a notepad in my hand, I saw even more clearly all the intimate nuances of her performance and was free to give in entirely to the exhilarating, heartbreaking melodrama of it all. (Alexandra Pollard)

Getty Images

When youve been going to gigs for decades, you tend not to expect anything new, just variations some mind-blowing, others not on what you have seen before. So when I saw David Byrnes American Utopia show, it felt like stumbling on the Ark of the Covenant. Here was a man who had been working in music for 40 years completely redrawing the rules of pop performance no drum riser, no cables, no visible amps or microphones and taking it deep into the territory of experimental theatre. In opposition to the usual freeform live music set-up, this tour was the result of fastidious planning, with everything rehearsed to the last nanosecond. And yet, forever on the move, dressed in matching grey suits and dancing barefoot in formation, Byrne and his 12-piece band were loose-limbed, unfettered and joyous to watch. And the music was pretty great too. (Fiona Sturges)

EPA

Before her short run at Hammersmith Apollo last year, Hlose Letissier known as Christine and the Queens, though she dropped all but the "Chris" for her second album tweeted: I think we finally have some surprises for those who come to the shows! She delivered on that promise falling snow and sand, and a balcony homage to Romeo and Juliet as she redefined what a pop show could be. With a gender-fluid cohort of athletic dancers, she brought to theatrical life her tumultuous journey towards embracing her pansexual identity, and finding liberation. And we went through all those emotions with her, those alternately tender and powerful vocals never faltering despite the restless dance routines. Everyone was on their feet dancing, and her declaration of inclusivity could not have been more empowering: Vive everyone! We left thrilled and elated. (Elisa Bray)

REX

Fans who were at the gig have tweeted about the show, saying Palladium staff turned the lights off and shut off the sound, leavingMadonna to argue with them before returning to the stage to sing I Rise with an unplugged microphone.

Madonna has cancelled numerous dates in her sold-outMadame Xtour, with the star suffering from an unspecified injury that she said has been causing her overwhelming pain.

Her first show at the Palladium was awarded four stars by The Independents critic Kate Hutchinson, who called the concert an eyeball-twisting audiovisual assault.

See the original post:
Madonna furious as London Palladium censors her by dropping curtain and shutting off sound before end of live show - The Independent

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Dr. OConnor makes it clear that Tony is making a lot of money off of his own concoctions that he sells through Enhanced Athlete supplements. And that while a healthy dose of mistrust in big corporate entities is natural Tony Huge falls far beyond that into conspiracy theory territory. Perhaps the government and big businesses are censor Tony Huge because hes actually giving out dangerous and incorrect information.

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Enhanced 2 The Max Clip: Is The Government & Big Business Censoring Tony Huge? - generationiron.com

James Bovard, Opinion columnist Published 7:00 a.m. ET Feb. 4, 2020

What is classified? It all depends on the politicians. Long before Bolton, the Obama White House used classification as a tool of censorship.

Ever since the 9/11 attacks, Republicans and Democrats have conspired to keep Americans increasingly ignorant of what the federal government does.The number ofsecret federal documents skyrocketed, andany information classified was treated like a political holy relic that could not be exposed without dooming the nation. Ironically, the fate of the Trump presidency may hinge on perpetuating the unjustifiable secrecy now pervading Washington.

John Bolton wrote a book about his experiences as President Donald Trumps national security adviser that could provide key information regarding Trumps dealing with the Ukrainian government, and Democratic members of Congress are calling for the manuscript to be made public.Former government officials are obliged tosubmit their publications for review to ensurethat no classified information is revealed.Boltonslawyer deniesthat thebook contains classified information, but previous manuscript reviews of other would-be authors have dragged out for months or years.

Since the 1990s, the number of classified documents annually by federal agencies hasincreased more than 15 times.

In 2004, then-Rep. Chris Shays, R-Conn., derided the federal classification systemas "incomprehensibly complex" and "sobloated it often does not distinguishbetween the critically important and the comically irrelevant."

TheNew York Timesreported in 2005 that federal agencies were classifying documents at the rate of 125 a minute as theycreate new categories of semi-secrets bearing vague labels like 'sensitive security information.' "

Each classified document is tacitly backed by a federal iron fist ready to squash anyone who discloses it without permission.Regardless of whether the Trump White House is conniving to stifle Boltons disclosures,it was theObama White House that weaponized classification.J. William Leonard, former chief of the federal Information Security Oversight Office, complained in 2011 that the Obama administration had "criminally prosecuted more leakersof purportedly classified information than all previous administrations combined."

Democrats: No super weekend for Democrats with Trump's expected acquittal

For the Obama administration,leaking classified information to the news media was worse thanspying for a hostile government. Its Justice Department declared in 2011 that government officials who "elected to disclose the classifiedinformation publicly through the mass media" were "posing an even greater threat to society" than do foreign spies.

The Obama administration believed that its classification decrees were so sacrosanct,no federal judge could overturn them. "We dont think there is aFirst Amendment right to classified documents," Justice Department lawyer Catherine Dorsey told a federal judge in 2015.

Dorsey agreed that the governments position was tantamount to claiming that the court "has absolutely no authority" to unseal evidence even if its clear the governments bid to keep it secret is based on "irrationality" or that its "hiding something," as The Interceptreported.

National security adviser John Bolton.(Photo: Jacquelyn Martin/AP)

Classification is also a literary scourge. Hundreds of thousands of former officials and military personnel with security clearances must allow pre-publication reviews of their books and other writings. Former Justice Department lawyer Jesselyn Radack observed that pre-publication review "has always been a filter to promotefawning memoirs by senior governmentofficials while censoring whistleblowers and critics."

A2019 lawsuitclaimed that thepre-publication censorshipvested excessive power in government officials who, according to The New York Times,"can delay or discriminate against lower-ranking peoplewho criticize government actions, while speedily clearing favorable memoirs and other writings by retired senior officials."

Jameel Jaffer, executive director of the Knight First Amendment Institute at Columbia University, declared, "This far-reaching censorship systemsimply cant be squared with the Constitution."

Torturers have benefited mightily from censorship. Mark Fallon, a veteran counterintelligence officer andcounterterrorism expert, wrote a book entitled "Unjustifiable Means: The Inside Story of How the CIA, Pentagon and U.S. Government Conspired to Torture." But his account of the torture regime was badly delayed and heavily censored. Fallon charges that books by the architects and apologists for CIA tortureincluding former CIA Director George Tenet, former acting general counsel John Rizzoand former Counterterrorism Center chief Jose Rodriguezwere treated better in the pre-publication process.

Similarly, when former FBI counterterrorism agent Ali Soufan wrote a book on CIA torture abuses, the CIA demanded that Soufan who was on-site for brutal interrogations remove the pronouns "I" and "me" fromhis narrative.The CIA alsodeleted quotes in his bookthat had appeared in congressional hearing transcripts.

Trump will be back: If impeachment-tainted Trump loses in 2020, he'll be back

Classification is often a political flag of convenience that politicians exploit to dominate the media. New York Timescolumnist Maureen Dowd observed in 2006, "The entire Iraq War was paved by (Bush administration)leaks. Cheney & Co. were so busy trying toprove a mushroom cloudwas emanating from (Saddam Husseins) direction, they could not leak their cherry-picked stories fast enough."

Bush administration disclosures of sensitive information were often handed on a silver platter to pliant journalists.Newsweeks Richard Wolffe explained the Bush White House method: "Theydeclassify when they feel like it.Ive been with senior administration officials who have just decided todeclassify something in front of me because its bolstering their argument."

When federal Judge Amy Berman Jackson sentenced former Trump aide Rick Gates last month, she declared, "If people don't have the facts, democracy doesn't work."

But Republicans and Democrats in Washington have long since approved denying Americans the facts millions of times a year. Unfortunately, secrecy and lying are often two sides of the same political coin.

James Bovard, author of "Attention Deficit Democracy," is a member of USA TODAYs Board of Contributors. Follow him on Twitter:@JimBovard

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Claims that John Bolton's book disclosures are 'top secret' ring hollow - USA TODAY

Electoral losers are increasingly blaming social media for their failure, but this year will demonstrate that censorship is not the answer.

Democracy only works if the losers of elections accept defeat, but sadly few are inclined to do so these days. Now we have five stages of electoral grief that are directly analogous to the original Kbler-Ross model. We still have denial, anger and depression, but instead of bargaining we have litigation and acceptance seems to have been replaced with conspiracy theories in which social media plays a central role.

The central concern is that when people vote for the other team it must be because they were mislead in some way, because no rational, fully informed person could fail to recognise the superiority of my team. In the past some blame could be attached to the mainstream media, something the UK Labour party still persists with. In the US, however, Donald Trumps victory in 2016 despite having the support of no major media, would appear to render that theory obsolete.

Trump was able to prevail because politicians are no longer dependent on the old media to communicate directly with the electorate, thanks to social media. But this significantly lowered barrier to entry into the public sphere also provides fertile ground for electoral losers searching for mitigation and another bite at the cherry.

A favourite on both sides of the pond is to blame the Russians. While the focus of cold war paranoia has largely shifted to China, Russia remains a strong source of bogeymen. Now it should be noted that there is plenty of evidence of social media bot farms originating from a number of countries, including Russia, that apparently seek to meddle in elections. What is much harder to prove is whether they had any effect whatsoever on the outcome.

The small matter of evidence is never going to stand in the way of those refusing to concede defeat, however, and it has now become conventional wisdom that social media censorship is vital if we are to ever have untainted elections again. Since the US is in the middle of another of its interminable general election campaigns this year, the heat is being turned up on social media and they are being forced to respond.

Last week Twitter announced it was turning on a tool for key moments of the 2020 US election that enables people to report misleading information about how to participate in an election or other civic event. The tweet below implies the tool has a broader purpose than that, though, as it also includes intimidation and misrepresenting of political affiliation. Already you can see how a simple censorship objective becomes immediately and massively complicated under the weight of interpretation, semantics and generally chasing its tail.

Then you have Google and its subsidiary YouTube blogging about how much they support elections, whatever thats supposed to mean. Again a lot of this focuses on content that is intended to mislead voters, but since electioneering is biased by definition, surely all of it is intended to mislead to some extent. YouTube also reiterates its aim to promote authoritative voices, which is code for the establishment media and commentariat.

In contrast, Facebook Founder and CEO Mark Zuckerberg is increasingly pushing back on censorship, having tried and failed to walk that tightrope since the Cambridge Analytica scandal. Perhaps motivated by the prospect of an extra four years of Trump, who has made his feelings known on censorship, Zuckerberg is now turning all free speech absolutist on us. Whether that position will survive even the first engagement of the US electoral process, however, remains highly debatable.

Early signs of the immense pressure these platform owners will come under are already appearing, with the Democrats mobilising supposed experts to protect the electoral process. Iowas first-in-the-nation caucus will mark the DNCs greatest challenge so far in efforts to guard its presidential contenders from the same fate that befell Hillary Clinton in 2016 when her campaign was upended by a Russian-backed hacking and disinformation effort, reports the Washington Post in depressingly partisan fashion.

If that WaPo piece is anything to go by everyone is going to be trying to manipulate not only the US Presidential election, but the Democratic primaries too, where non-establishment candidate Bernie Sanders is currently the front-runner. Presumably YouTube doesnt intend to punish the countrys mainstream media for misleading the electorate, so it seems it will support democracy by censoring everyone else.

As ever, restricting speech in free societies is a game of whack-a-mole, in which countermeasures can never hope to keep up with the desire of its people to say what they want. Even if the social media companies are successful in their stated censorship objectives, which they wont be, the team that loses will still blame them. So they might as well not bother and trust their users to sort the wheat from the chaff. After all, theyve been doing that with mainstream media for years.

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The US election will test social media censorship to breaking point - Telecoms.com

HuffPost UK ran yet another hit piece smearing academic critics of the dirty war on Syria as Russian stooges. The outlets executive editor, Jess Brammar, assists a British government program that censors journalism that may compromise UK military and intelligence operations.By Ben Norton

The Huffington Post has relied on Western government officials and organizations funded by Western governments to viciously smear anti-war academics as useful idiots of Russia, claiming they are being used by the Kremlin.

Ironically, HuffPost UK has done this while its own executive editor actively collaborates with the British Ministry of Defense in a program that censors journalism on behalf of UK military and intelligence operations, in order to protect national security interests.

HuffPost UK published a hit piece by Chris York on January 29 that hearkens back to the era of McCarthyite witch hunts. Titled The Useful Idiots: How These British Academics Helped Russia Deny War Crimes At The UN, Yorks hatchet job is dedicated to destroying the reputations of several anti-war scholars who have done extensive research exposing the lies and regime-change propaganda spread by Western governments in their hybrid war on Syria.

It was Yorks twelfth piece attacking this small group of academics. From the perspective of the British public, a group of semi-obscure professors is an unusual source of interest. However, it is clear that the UK military-intelligence apparatus that dumped untold millions of pounds into promoting regime change in Syria has a clear agenda here.

Yorks article relies almost entirely on the unsubstantiated opinions of European government officials and groups that are bankrolled by the United States and European governments. It also features some glaring omissions, leaving out key details and misleading readers.

HuffPost UK executive editor Jess Brammar took to Twitter to promote the hit piece, claiming it shows how a group of British academics have been used by Russia to help them deny war crimes by the Assad regime at the UN.

Its quite a tale please give it a read, Brammar added. It is indeed a tale and a tall one at that, given the article dabbles in fiction with unsubstantiated hyperbolic claims based on Cold War-era propaganda tropes.

Brammar shared a quote from the piece that is attributed to an anonymous European diplomat, who claimed anti-war British scholars are unwittingly and naively acting as agents of propaganda for the Russians, or actively support[ing] Russian disinformation.

While the HuffPost UKs executive editor smears dissenting academics as agents of propaganda for the Russians, she herself actively collaborates with a British government censorship program as writer Caitlin Johnstone first pointed out.

Jess Brammar is a member of the Defence and Security Media Advisory (DSMA) Committee, a government initiative overseen by the Ministry of Defence (MOD) that, according to its official website, exists to prevent inadvertent public disclosure of information that would compromise UK military and intelligence operations and methods or potentially challenge national security interests.

In other words, the DSMA Committee is a group of media elites who voluntarily agree to collaborate with the British government to censor stories and information the UK military and spy operations deem inconvenient or too dangerous for the public to see.

The DSMA Committee is chaired by the director of general security policy for the UK Ministry of Defense. It includes four more government officials: the directors of national security at the MOD, the Foreign and Commonwealth Office, the Home Office, and the Cabinet Office. They are joined by three military officials in secretarial positions, along with a government assistant.

Rounding out the committee are 17 media elites, representing major publishers such as the Huffington Post, the Times, the Telegraph, the Daily Mail, Sky News, ITV, the BBC, the Press Association, Harper Colins UK, and more.

Brammar was one of the only two members of the committee to be nominated directly by the chair and vice-chairs. In other words, the director of general security policy for the UK Ministry of Defense personally chose her to be on the DSMA Committee a clear stamp of approval for her editorial judgment from the British military establishment.

In a report entitled, How the UK Security Services neutralised the countrys leading liberal newspaper, journalists Matt Kennard and Mark Curtis demonstrated how the military-intelligence apparatus cultivated The Guardian as its tool. The process began in earnest after the Guardian embarrassed Western governments by publishing secret documents leaked by National Security Agency (NSA) contractor Edward Snowden.

The DSMA Committee was previously called the Defence Advisory Notice (DA-Notice) and Defence Notice (D-Notice) Committee, and purports to be voluntary. Kennard dug through officials minutes of meetings held by the committee and found that the secretary implied otherwise, insisting, The Guardian was obliged to seek advice under the terms of the DA notice code, and This failure to seek advice was a key source of concern and considerable efforts had been made to address it.

Periodically, the MOD-led committee sends out a private message to British media outlets called a D-Notice, which warns the ostensibly independent press against publishing information that would jeopardise both national security and possibly UK personnel.

Kennard outlined how these D-Notices have been used to muffle journalists, and prevent the publication of stories that threatened to embarrass the British government.

HuffPost UK editor Jess Brammar is at the heart of this government effort to silence critical media.

But it is not just Brammars ongoing, willing participation in a British military-led censorship program that makes her attempts to portray Huffington Post and her reporter Chris York as noble truth-tellers fending off attacks by a baying mob of Kremlin-sponsored abusers so hypocritical.

HuffPost UK smearing independent thinkers and critical-minded academics as Russian puppets while actively peddling propaganda on behalf of Western governments is astoundingly ironic.

In his wildly misleading article, York describes the Working Group on Syria, Propaganda and Media (WGSPM), a collective of dissident British scholars, as agents of propaganda for the Russians.

The thrust of this smear piece is the unsubstantiated opinion of an unnamed European diplomat, who is quoted in five paragraphs viciously maligning the scholars, and whose personal partisan views are presented as absolute fact.

The HuffPost UK hatchet job provides no actual evidence that these scholars have been working with or for the Russian government. The only links to the Kremlin that York could find are hilariously thin: one Russian official praised the group, and another tweeted a link to their work.

Moreover, some of the so-called experts cited by York happen to work for pro-war organizations funded directly by Western governments.

York relies on pundit Shadi Hamid to depict WGSPM as crazy loons. Hamid works at the hawkish think tank the Brookings Institution, which is funded by the Qatari monarchy and US governments.

Hamid is also a vocal advocate for Western military intervention who has gone to absurd lengths to defend NATOs regime-change war on Libya, which destroyed the most prosperous country in Africa and left behind a failed state that turned into a massive ISIS base and a hub for trafficking and enslavement of African refugees.

Another purported expert cited by York is the open source reporter Eliot Higgins, who smears the WGSPM as useful idiots.

Higgins is the founder of the pro-NATO blog Bellingcat, which is funded directly by the US governments regime-change arm the National Endowment for Democracy (NED), a notorious CIA cutout. Bellingcat is also part of a UK government-financed program backed by the British Foreign Office. And Higgins former employer is the Atlantic Council, NATOs unofficial think tank, also bankrolled by Western governments as well as Gulf monarchies and the arms industry.

While HuffPost UKs in-house regime-change cheerleader Chris York treats the Bellingcat founder as an expert, even the New York Times acknowledged in a puff piece that Higgins has no real expertise. Higgins attributed his skill not to any special knowledge of international conflicts or digital data, the paper noted, but to the hours he had spent playing video games, which, he said, gave him the idea that any mystery can be cracked.

In recent months, the Working Group on Syria, Propaganda and Media published leaks from the Organization for the Prohibition of Chemical Weapons (OPCW) revealing that at least two whistleblowers complained that the UN-created organization had become politicized, accusing the management of suppressing and even reversing scientific findings under US government pressure.

The apparent OPCW suppression concerns the allegations that the Syrian government used chemical weapons in the city of Douma in April 2018, in an area occupied by Salafi-jihadist insurgents.

The US, British, and French governments claimed without evidence that Damascus had launched a gas attack in this Islamist extremist-occupied area. In response, Washington and its allies launched missile strikes against the Syrian government in violation of international law.

Numerous leaks from the OPCW have cast doubt on the unsubstantiated allegations of Western governments. Along with the WGSPM, WikiLeaks has published several batches of leaks from the OPCW, including internal emails that show signs of high-level suppression of inconvenient scientific findings about the incident in Douma.

HuffPost UKs Chris York did not even mention WikiLeaks in his wildly misleading article. Instead, York falsely asserts that there is no reliable evidence to support the theory that the alleged Douma gas attack was staged by the Salafi-jihadist insurgents on the ground.

Conspicuously absent from Yorks article was the smoking gun that arrived in the form of testimony at the United Nations Security Council by former OPCW inspection team leader and engineering expert Ian Henderson.

In January, Henderson told the UN via video that OPCW management had suppressed the fact-finding mission (FFM) teams findings on the ground in Douma. (Henderson had wanted to testify in person at the UN, but the US government did not give him a visa.)

We had serious misgivings that a chemical attack had occurred, Henderson explained. The former OPCW expert added that his months of research provided further support for the view that there had not been a chemical attack.

In his article, York completely avoided mention of Henderson and UN testimony, in a very egregious and misleading oversight. And this striking omission appears to be intentional, because on Twitter, York later condemned Henderson, along with the other OPCW whistleblower who goes by Alex, claiming they are wrong.

The fact that York would conveniently leave out Hendersons UN testimony the most important, and scandalous piece of evidence yet of OPCW chicanery while publicly smearing him on Twitter shows that the methodology of the reporting itself is clearly biased, sloppy, and unprofessional.

Yorks attack piece is also self-referential. In one especially dubious sentence, he claims the WGSPM has previously been accused of whitewashing war crimes.' To support this grave accusation, York links to an article by himself from 2018, which is essentially a mimeograph of his latest attack.

This 2018 smear piece accusing the WGSPM academics of whitewashing war crimes attributes the outrageous accusation not to a legal expert on war crimes but rather to Leila al-Shami, who has spent years lobbying for foreign intervention to violently overthrow the Syrian government.

Al-Shami is, in fact, the pen name for a mysterious British activist whose credentials are impossible to validate. According to Robin Yassin-Kassab, the co-author of her book, Burning Syria, Leila al-Shami is the pseudonym of another British Syrian who worked in Syria in the human rights field before the revolution.

For years, al-Shami has refused to show her face on camera. During a 2016 event at NYUs Kevorkian Center, for example, attendees were forbidden from filming al-Shamis talk for security reasons. In a June 2017 interview with Spains El Nacional (in which she and Yassin-Kassab wrongly forecasted a partition of Syria), al-Shami was photographed turning away to hide her face. She claimed that she could not be seen publicly for security reasons.

However, during an April 2016 event at New York Citys New School, al-Shami was photographed and filmed while on stage. The image was published by Flatiron Hot News, a local culture publication.

Al-Shami is best known for marketing the cause of regime change in Syria to the Western left, painting it as a glorious grassroots struggle for participatory democracy, while branding its leftist opponents as crypto-fascists and idiots.

Her book, Burning Country, contained no on-the-ground reporting, relying instead on reports by and about opposition activists largely funded by the US government and Gulf states such as the White Helmets and Raed Fares.

While al-Shami claims to have been involved in human rights and social justice struggles in Syria, the human rights group she supposedly co-founded, Tahrir-ICN, appears to be an empty shell that consists of a few barely active social media pages and a dormant blog.

Yorks reliance on a shady figure like this further highlights his deceptive tactics. By citing regime change activists as credible experts while heaping scorn on his subjects with passive-voice phrases like have been accused of, he disguises his own opinions as objective reporting.

Under the leadership of executive editor and British security state collaborator Jess Brammar, Yorks brand of propaganda is not only tolerated at HuffPost UK; it is encouraged.

Yorks hit piece on the Working Group on Syria, Propaganda and Media was, in fact, his 12th attack on the small band of dissident academics. Desperate to suppress inconvenient facts about the dirty war on Syria, some powerful forces have found reliable propagandists at the HuffPost UK.

Ben Norton is a journalist, writer, and filmmaker. He is the assistant editor of The Grayzone, and the producer of the Moderate Rebels podcast, which he co-hosts with editor Max Blumenthal. His website is BenNorton.comand he tweets at @BenjaminNorton.

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HuffPost UK editor works with govt censorship program while smearing anti-war scholars as tools of Russia - The Grayzone