(5 / 5)

It would be my last night in Manchester where I made the discovery of Will Pound and Jenn Butterworth. This folk duo are doing the rounds on tour and my love for them has grown thanks to this lovely concert they gave in the intimate Carole Nash Hall within Stoller Hall.

It is their mix of harmonica, vocals and guitar that make them so endearing. Be it folk proper, sea shanties or country songs, their talents shine forth. A smattering of feminist folk songs stood out, Jenn being cheeky and removing some problematic elements from others songs (a cautious decision I didn’t really mind) , yet still kept up the earthy, thrilling ride. Will was showing off the only bass harmonica in the world, whilst proving his money’s worth through fabulous playing. Jenn with lush vocals and stirring guitar playing, both musicians a wonderful mix, the delight of this Sunday night.

After viral success on Tik Tok, they seem to be reaching new heights thanks to new audiences. The whole thing just felt very accessible and had an easy going quality I often enjoy in the concert environment. I should see more folk events, if they are as good as this. It’s rare to find a duo who seem to really understand one another, their cheery personalities also on show. It is the spirit of the British Isles that lives in these two, along with the fire of European nations, since we were also treated to music from Spain and elsewhere. This of course, gave Will the chance to show off his diatonic accordion, a sweet and acute instrument known by different names in different lands.

These two gave me the spirit to say goodbye to Manchester and to head home to Wales.

Will Pound and Jenn Butterworth continue on tour around the UK till 21 November 2022.

(4 / 5)

A return to London for William Basinski was just what I’ve needed. This American composer has made good old fashioned reel to reel tape as the basis of his craft. More specifically, the deterioration when the tape is compromised due to a varying combination of factors is his USP (chance, the age of the tech and temperature as examples). His art will be forever interlinked with the events of 9/11, as some attempt to salvage archival work occurred on that fateful day.  

Arriving on stage, Basinski was flaming, singing show tunes and unable to grasp he was performing at the Barbican. Starting with his Lamentations from 2020, he declared that “war is on the way”, as the now everywhere colours of the Ukraine flag flooded the stage. Even in this newer work, his tape addiction never stops. There were some exquisite moments here. Anyone not into minimalism and an equal amount of patience would struggle with his ideas. Though those who commit are treated to a fine ambient encounter. Some sample of a stunning female singer makes you crave the source. It remains very haunting, other exuberant moments fill the space with a somber joy, yearning regrets within others. He appears to still have the magic about him!

Two orchestral arrangements of his Disintegration Loops filled the second half. Basinski has shared the context of this piece and it’s relationship with 9/11 many times. The London Contemporary Orchestra took on these damaged pieces with benevolence for the listener. No. 3 of the loops is quite serene, a feeling of calm washes over you, as it continues to repeat and repeat. Conductor Robert Ames helps the statue like dynamic along, leading shortly after in the iconic No.1.1 of the loops. There is a slight change to the snippet of a melody which haunts the first loop (we assume it’s brass on the original). The brass here players keep the structure going, as the notes gradually go into the ether. The two percussionists relentlessly shone, keeping the subtlety on course, as the other musicians wrapped up. The addition of humming was a nice touch at the start and end, though mics would have gone a long way.      

All that was missing was Basinski’s video work which accompanies the loops. Still a fun, revelatory evening. 

(3 / 5)

One of the fond memories of the brief window of live performance in 2020 was Catrin Finch with the Columbian band Cimarrón. Welsh harpist Catrin seems to hold the whole world in her hands, with a versatility in essentially any genre of music. Knowing her from classical circles, her time with Cimmarrón made for a sizzling and dazzling concert, something I haven’t forgotten in a hurry.

A duet with Seckou Keita from Senegal is another giant leap in taste and mileage. Keita, who plays the kora (a large string instrument made from a giant root vegetable) beams for most of the night, his vibrant energy on full display. Catrin, ever the wry talent, gave humour in speech and simply beautiful playing on her large harp. Together, Wales and Senegal does not seem that far apart, the break down of musical cultures dropping with a huge reverb, its sound a towering influence over the night.

I’ll confess the music here is on a more chilled level, a breezy ambience that never lets up. I found myself craving something with more of a meaty bite, though the eloquence of both players never wained. The kora is a rather subtle instrument, somewhere between a harp, guitar and the strings of a piano. They usually played in harmony, each instrument clear during these moments.

Seckou also shared insights from his country, the idea of the children’s rite of a “standing stick” was amazing. A frustrating moment came later when his mic fell and not a single technician came to assist him. Along with Catrin’s deadpan, they made quite a comedy double, as well as musical bed fellows. The unending, shameless amount of plugs to their new CD started to get absurd as the night went on.

We really should place bets for where Catrin goes globally and who she plays with next. Her journey remains quite the adventure.

(4 / 5)

Percussion. Perhaps my favourite instruments and part of the orchestra. With students from the Royal Welsh College, dubbed Taro, they presented an exhilarating bend of music for the sleepy lunchtime slot at St David’s Hall.

Steve Reich is the grand old master of the minimalists, some might feel his looping effects make for a one trick pony. His ideas have not processed a lot of over the decades. Through this, the music is always delightful and unique. The musicians here started off with the first movement of his Mallet Quartet, which features a smashing melodic line, the sheen of marimbas creating a landscape of joy. With his Six Marimbas, we got the same themes and little variations. Turns out the students have this piece as their music exam the day after the concert.

Though they might lack the machine like drill of Colin Currie and his ensemble, they impress, this never being easy music to take lightly. Focus and endurance are the name of the game…
Ivan Trevino and his 2+1 continued a minimalist exercises, in a piece feeling quite sincere and formulated. The stand out piece of the concert has to go to Trio Per Uni by Nebosha Zivkovitch. With three of the players sharing a bass drum and a smattering of bongos and metallic bowls. Inspired by the pounding nature of Japanese Taiko drumming, this alumni composer has written a piece that should see a fair amount of popularity, such is its appeal. I found it stirring and easily accessable, the slamming wall of sound never ending, with the occasional shout from the three guys playing. Sensational.

A light, bright Ravel arrangement of his Alborada del Gracioso followed by Safri Duo. I’ll take or leave this French composer, who usually relied on a lot of pith in his musical output. With a shared marimba for two players, the piano work gets even more silly, with the flurry of high notes and as an adolescent guide to daydreaming. Nice stuff, if a little saccharine. A first year student at RWC, Elaina Charalambous and her Kinesthetic had a lovely feel to it. The plodding bars for ten percussionists had sometimes absurd moments of tutti, really giving the work a wink and a whistle to the listener. Certainly another young composer of note.