And that, it seems to me, is what Tom Stoddart has documented so powerfully in his pictures of the city and its people.It was during the summer of 1995, when the shelling was almost as bloody and relentless as in the first miserable months, that Stoddart promised me a copy of a photograph showing Meliha Vareshanovic, dressed in rather 1950s finery, walking upright past some sandbags.Her heels are high, her shoulders are thrown back, her face is lifted towards the light and her attitude is unstoppable. Those who obeyed his orders did the job as best they could, pushing many of the city's people over the edge.But for all the damage inflicted, both physical and mental, the scars on buildings and citizens, my abiding sense of Sarajevo's siege, under which I lived for two years, is of survival. Shell them until they can't sleep, don't stop until they are on the edge of madness." So said Ratko Mladic, the separatist Serb general indicted for genocide at the War Crimes Tribunal for his role in the Bosnian war. Even the buildings shattered by war have a strange beauty, expressed in Thain's monumental landscapes of the city's front lines.At least one punter at the show found his awesome pictures more expressive of the sorrow of war than Stoddart's people. But I keep looking at them in a rather pedestrian way, wondering if I recognise this street and that apartment block, noticing that the roads have been swept clean of the rubble that signifies war.I wanted to see the people, arranged as they are in sections: a double row of Sniper Alley shots (people running for their lives), a graveyard section, people playing with pets, children injured by shrapnel or simply by having been separated from their parents."Shoot at slow intervals until I tell you to stop. But, of course, it was never as simple as that - as these pictures show.The four-year siege of the city by separatist and heavily armed Bosnian Serbs was a horror to be endured, but survival brought out the best as well as the worst in the city's people, and that was true for those on both sides.

With a rumbling stomach at one in the morning, you think it's the best thing in the world, the only thing you could possibly eat and you get all over-excited and drooly at the thought. Fun Lovin' Criminals are like a Domino's pizza. The album was recorded on Ellis Island, the old New York entry point, at the end of a long trek across the United States; during the concert he more than once referred to the great country that had welcomed his immigrant relatives and sustained him through 30 years He meant him and Paul.. "Bridge Over Troubled Water" gets, to use the vernacular, full welly, and when we get to "Homeward Bound" he really hit his stride, and there's hardly a dry eye in the house.Art is not making many concessions to Britain this tour Art's patter is US patriotic.

He gives it a fresh, even funky treatment, much livelier than it gets on his latest album The Very Best of Art Garfunkel, Across America - a very soupy affair.In the last half hour, the pace picks up. "So many things went wrong," he says by way of exculpation to an audience which clearly finds it hard to dissociate him from the Paul Simon past (his foray into film passed this audience by) Tonight, though, he makes "Mrs Robinson" his song. Perhaps Art had been thrown by a heckler who made some remark about doing it live; perhaps after all these years it is no longer crazy, just too familiar.But with "Mrs Robinson", we hit the groove Before Art sang the number, he felts the need to explain. It's fair to say it was a performance that only woke up well into the catalogue. CASTMother Nature CallsPolydor CAST 2It used to be the case that a musician's prodigious intake of marijuana guaranteed music and lyrics that were at least inventive, if not always completely coherent. "The Bottom Line", too, promises more, featuring as it does the intriguing presence of both Can's drummer Jaki Liebezeit and pedal steel guitarist B J Cole; but these are all too brief distractions.

Of greater cause for concern, however, is the indistinct, half-formed nature of some of Gore's melodies.The instrumental "Jazz Thieves" offers a little respite from the quotidian run of things, with marimba tones clunking enigmatically against faint synthesiser rushes and a three-note double-bass loop. His voice is, perhaps understandably, rougher and more lived-in than before, but not unpleasantly so. On "Sister of Night", for instance, he sings of trembling through sleepless nights and seeking succour, while "Home" finds him giving thanks for "arriving at somewhere that feels like home". There is nothing dark, thought- provoking or even remotely filmic about their live sound.No matter - the crowd adore them. "King of New York" gets its title from the Christopher Walken film A few numbers in, Huey namechecks Harvey Keitel But that's all it is - namechecking. They like their films - "Scooby Snacks" samples from Reservoir Dogs and Pulp Fiction. Their breakthrough, "Scooby Snacks" was such silly, unadulterated genius that it was practically a novelty record. The first problem for them live is that they have to follow Republica, specifically lead singer Saffron, who stays on key through a hoopla of high kicks, back-arching leaps and frenetic headshakes She is riveting to watch, no matter how dodgy the music is FLC slope on stage to the music from The Godfather.