Author: Charles Hutchinson

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REVIEW: Futuresound Group presents Richard Hawley, Live At York Museum Gardens, York, July 5 *****

Richard Hawley: Wearing red at Live At York Museum Gardens to honour the Liverpool footballer Diogo Jota, who died in a car crash on July 3. Picture: Andy Hughes

FUTURESOUND Group could not have put together a better show for Live At York Museum Gardens 2.0 than Richard Hawley with strings attached and more besides.

Not one, not two, but three support acts after the addition of droll Scottish singer and songwriter Hamish Hawk, who was billed for a 5.40pm start but made his entry at evening news time, Bowie- dapper in dark jacket and cream trousers.

Keep your eye on Hawk, a frontman as natural as Jarvis Cocker, as witty and observant as The Divine Comedy’s Neil Hannon in his lyrics, with a line in gay love declarations rather more overt than in the days of Gershwin’s The Man I Love.

Hamish Hawk opening Saturday’s line-up at Live At York Museum Gardens. Picture: Andy Hughes 

The Mauritian Badminton Doubles Champion 1973 has probably the best opening couplet to a song ever penned: “To write a cathedral, I’ll need a ballpoint pen/It’ll sound like ‘Common People’, written by Christopher Wren”. Yes, he’s that good, and there were plenty more where that came from in a 25-minute set, over all too soon.

B C Camplight – B C stands for Brian Christinzio – is a favourite of The Crescent, York, who took to the outdoors as a man on a mission. Living in Manchester now but still very much a son of New Jersey, he has followed up 2023’s relationship break-up record, The Last Rotation On Earth, with A Sober Conversation, “doing well”, he says, since its  June 27 release.

A big jack-in-a-box behind – and often not behind – his piano, B C  was bursting with vigour and vitality, putting it all in the open after confronting childhood trauma and being clean from drugs for two years. His songs were candidly tragic-comic, liberating too, his arrangements unpredictable and thrilling, not averse to kicking up a storm but, equally,  as adroit as Squeeze or Teenage Fanclub at gorgeous melody.

B C Camplight: Arms outstretched at the piano at Live At York Museum Gardens. Picture: Andy Hughes

From the red rose of Manchester to the white of Yorkshire, or Leeds more precisely, in the Mercury Prize-winning form of English Teacher. What’s this for a choice of walk-on music? The volume suddenly sounded louder – as if we were at the Cardiff Principality Stadium – for a blast of Supersonic to tease an entry of the magnitude of the omnipresent Gallaghers’ revived love-in.

If that took chutzpah, so did starting with their best-known number, the one that Lily Fontaine ends with “I am The World’s Biggest Paving Slab/And the world’s smallest celebrity”:  a typical Leeds shrug of a sentiment, in keeping with bands from The Wedding Present to Yard Act.

The world’s smallest celebrity? It will not stay that way for Fontaine and her rising, rousing band whose backdrop stated “This Could Be English Teacher” in another splash of Leeds humour in a nod to their debut album title, This Could Be Texas. 

This could be the future: Lily Fontaine of English Teacher, the Mercury Prize-winning Leeds band making waves at York Museum Gardens. Picture: Andy Hughes  

Schooled at the Leeds Conservatoire, they are musically skilled, able to swap between instruments, like the drummer switching to piano, or Fontaine from guitar to keys, but there is nothing arid or academic about their compositions.

Fontaine’s lyrics fizz with attitude and cultural smarts, the songs jab and jab, then deliver the knock-out punch, and now ‘Paving Slab’ has a rival with the unveiling of Toothpick, a sugar rush of a new song that will surely stick around.

Richard Hawley would play for 90 minutes, whereas Elbow performed for two hours on Thursday, but if that was the price of cramming in four acts, rather than three on the opening night, so be it. What Hawley delivered in his more concentrated, sublime set surpassed the lulls in Elbow’s graceful ebb and flow.

One of Richard Hawley’s myriad guitars in close-up at York Museum Gardens. Picture: Andy Hughes

Better still, unlike Elbow, Hawley used projections. Sometimes showing him close up in his humorously abrasive yet also heartfelt conversation between songs. Sometimes showing his band members and the aforementioned string quartet. Other times complementing songs with nostalgic, black-and-white photographs of Sheffield, its streets, buildings, shops, even his parents by the sea, along with footage of musicians of the past. Later, those projections would spark into life as images of fire and flashing, speeding lights.

This concert was the first of a series to mark the 20th anniversary of Coles Corner, or to cash on it as he joked. His fourth and arguably still his supreme solo album has had its double CD re-issue put back a month to August 1, but on Saturday night we could revel on  those songs of romance, longing, water and loss once more, with its echoes of the past running deeper than a South Yorkshire spin on Roy Orbison.

The string quartet augmenting Coles Corner with Richard Hawley at York Museum Gardens. Picture: Andy Hughes

Ever the dandy at 58, Hawley was dressed in red; so too fellow guitarists Shez Sheridan and Bryan Day. He had not suddenly started supporting Sheffield United, explained the Sheffield Wednesday fan, but this was his tribute to Liverpool footballer Diogo Jota and his brother Andre Silva, football united in grief.

If those Made-in-Sheffield songs, played in album order, were not already tugging at the heart strings, that moment of collective commemoration could not have been more fittingly conducted. From title track opener, through Just Like The Rain and Darlin’ Wait For Me, to the epic The Ocean, song surpassed song.

Richard Hawley working his guitar magic at York Museum Gardens. Picture: Andy Hughes

He dedicated Born Under  A Bad Sign to his father, with whom he had first played at The Leadmill at 16, and onwards he crooned and we swooned:  I Sleep Alone, Tonight, and Who’s Gonna Shoe Your Pretty Little Face?, learnt from his mother and played solo as a goodnight lullaby.

It was already ten o’clock, and so Richard  had to cram in as many Hawley highlights as he could by the 10.30pm curfew. Moonlight greeted She Brings The Sunlight, and we danced giddily to Prism In Jeans and felt the heart pound to Open Up Your Doors before Heart Of Oak made a mighty finale. Hawley at his best, Futuresound’s excellent gig management at its best too.

Red light bathing Richard Hawley and his band in the finale to his Live At York Museum Gardens concert. Picture: Celestine Dubruel

Richard Hawley’s set list at Live At York Museum Gardens

1. Coles Corner; 2. Just Like The Rain; 3. Hotel Room; 4. Darlin’ Wait For Me; 5. The Ocean; 6. Born Under A Bad Sign; 7. I Sleep Alone; 8. Tonight; 9. (Wading Through) The Waters Of My Time; 10. Who’s Gonna Shoe Your Pretty Little Face?; 11. Last Orders; 12. She Brings The Sunlight; 13. Galley Girl; 14. Prism In Jeans; 15. Open Up Your Door; 16. Alone; 17. Heart Of Oak.

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REVIEW: Paul Rhodes’s verdict on Futuresound presents Nile Rodgers & CHIC, Live At York Museum Gardens, July 4 ****

Nile Rodgers: Stirring everybody and every body to dance at York Museum Gardens . Picture: Paul Rhodes, reporting from ‘the photographers’ pit ‘

WHAT an amazing display of musical power to send Friday night to the stars.

Kicking things off at 6 o’clock as the crowd filled, Durand Bernarr really sold his performance. Even if his nu-soul material sounded similar, this expressive, energetic singer was eminently watchable. His concern for our wellbeing also fitted well into this warm-hearted event.

Durand Bernarr: “Really sold his performance”. Picture: Paul Rhodes

The second support act, Jalen Ngondo was perhaps the individual stand-out of the evening. This willowy soul singer from Maryland, now based in Liverpool, was amazing. His voice and music recalled the best of the great Sixties and Seventies’ soul artists.

Curtis Mayfield was the closest comparison (during his time with the Impressions) while the groove and songs drew on the spirit of Marvin Gaye and Tammi Terrell (his voice somehow a sweet blend of the two).

We are one big soul family: Friday’s audience enjoying good times at Nile Rodgers & Chic’s Live At York Museum Gardens party. Picture: Paul Rhodes

The crowd loved him – and as he played his heart out at the piano on The Look Of Love, with the trees swaying in full sail off to the side, it was a breathtaking moment.

Nile Rodgers is a superstar, no question. Since the 1970s, he has ridden wave after wave as a performer and producer, and his imprint is all over many of the biggest hits of the past 40 years.

Jalen Ngonda: “Recalled the best of the great Sixties and Seventies’ soul artists”

Luckily he shows no sign of slowing down at 72. Fresh from their well received – and it turned out similar – Glastonbury set, the nine-piece band were all superb musicians playing for the greater good.

The two lead singers were eye catching and glamourous, clearly enjoying themselves enormously. Audrey Martells handled the lead vocals for Diana Ross’s I’m Coming Out and Upside Down and Kimberly Davis shone on Sister Sledge’s He’s The Greatest Dancer and We Are Family.

Nile Rodgers: “Distinctive guitar playing sat at the centre of the sound”

Rodgers’ distinctive guitar playing sat at the centre of the sound. From the selection of CHIC songs, he found his signature style early on. We were taken on a tour that included Madonna, Duran Duran, Daft Punk’s Get Lucky and David Bowie’s commercial peak, Let’s Dance.

Now bedded into York’s social calendar, there was a lovely atmosphere to this Live At York Museum Gardens event all evening. The rain held off and as the sun went down behind St Mary’s Abbey over a sea of arms waving for yet another smash hit from the Rodgers songbook, everybody did dance.

It wasn’t perfect. A little less bragging from Rodgers, a little more full songs, and the energy of the set tailed off somewhat in the last third, not regaining the earlier peaks. Even so, this was a wonderful, full evening’s entertainment.

Review by Paul Rhodes

Oh, what a wow: Nile Rodgers and CHIC cutting a rug at Live At York Museum Gardens. Picture: Paul Rhodes

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More Things To Do in York and beyond when it’s never too late for Early Music. Hutch’s List No. 30, from The York Press

Richard Hawley: Revisiting Coles Corner with strings attached at Live At York Museum Gardens today. Picture: Dean Chalkley

WHAT happens when York Museum Gardens turns into Coles Corner and the same play opens in two places at once? Find out in Charles Hutchinson’s leisure list.

Open-air concert of the week: Futuresound Group  presents Live At York Museum Gardens, Richard Hawley, today; gates open at 5pm

SHEFFIELD guitarist, songwriter and crooner Richard Hawley revisits his 1995 album Coles Corner with a string section on its 20th anniversary this evening, complemented by Hawley highlights from his 2001 to 2024 albums (9pm to 10.30pm).

He will be preceded by Mercury Prize-winning Leeds band English Teacher (7.45pm to 8.30pm); Manchester-based American songwriter BC Camplight, introducing his new album, A Sober Conversation (6.30pm to 7.15pm), and Scottish musician Hamish Hawk, whose latest album, A Firmer Hand, emerged last August (5.40pm to 6.10pm). Box office: seetickets.com.

The Tallis Scholars: Performing Glorious Creatures, directed by Peter Philips, at York Minster at 7.30pm tonight at York Early Music Festival. Picture: Hugo Glendinning

Festival of the week:  York Early Music Festival, Heaven & Hell, until July 11

EIGHT days of classical music are under way featuring international artists such as The Sixteen, The Tallis Scholars, Academy of Ancient Music, Helen Charlston & Toby Carr and the York debut of Le Consort, performing Vivaldi’s Four Seasons “but not quite as you know it” on Sunday.

Directed by Delma Tomlin, the festival weaves together three main strands: the 400th anniversary of Renaissance composer Orlando Gibbons, the Baroque music of Vivaldi and Bach and reflections on Man’s fall from grace, from Heaven to Hell. Full programme and tickets at ncem.co.uk/whats-on/yemf/. Box office: 01904 658338.

Bridget Christie: Late replacement for Maisie Adam at Futuresound Group’s inaugural York Comedy Festival. Picture: Natasha Pszenicki

Comedy event of the week: Futuresound Group presents Live At York Museum Gardens, York Comedy Festival, Sunday, 2.30pm to 7.30pm

HARROGATE comedian Maisie Adam will not be playing the inaugural York Comedy Festival this weekend after all. The reason: “Unforeseen circumstances”. Into her slot steps trailblazing Bridget Christie, Gloucester-born subversive stand-up, Taskmaster participant and writer and star of Channel 4 comedy-drama The Change.

The Sunday fun-day bill will be topped by Dara Ó Briain and Katherine Ryan. Angelos Epithemiou, Joel Dommett, Vittorio Angelone, Clinton Baptiste and Scott Bennett perform too, hosted by “the fabulous” Stephen Bailey. Tickets update: last few still available at york-comedy-festival.com.

Justin Panks: Headlining Laugh Out Loud Comedy Club at The Basement, City Screen Picturehouse

The other comedy bill in York this weekend: Laugh Out Loud Comedy Club presents Justin, Panks, Tony Vino, Liam Bolton and MC Damion Larkin, The Basement, City Screen, York, tonight, 8pm

COMEDIAN and podcaster Justin Panks tops tonight’s Laugh Out Loud Comedy Club with his skewed observational eye and ability to approach seemingly ordinary subjects from extraordinary angles in his raw, honest  tales of relationships, parenthood and life in general.  

Tony Vino bills himself as “the only half-Spanish, half-Scottish hybrid working comic in the world”; experimental Liam Bolton favours a bewildering, train-of-thought approach to unpredictable stand-up comedy; Damion Larkin hosts in improvisational style. Box office: lolcomedyclubs.co.uk or on the door.

The Script: Returning to Scarborough Open Air Theatre this weekend

Coastal gig of the week: The Script and Tom Walker, Scarborough Open Air Theatre, today; gates open at 6pm

THE Script head to the Yorkshire coast this weekend as part of the Irish rock-pop act’s Satellites UK tour, completing their hat-trick of Scarborough Open Air Theatre visits after appearances in 2018 and 2022.  Special guest Tom Walker, the Scottish singer-songwriter, performs songs from 2019 chart topper What A Time To Be Alive and 2024’s I Am. Box office: scarboroughopenairtheatre.com.

Dianne Buswell and Vito Coppola: Red Hot and Ready to dance at York Barbican

Dance show of the week: Burn The Floor presents Dianne & Vito, Red Hot & Ready!, York Barbican, Sunday, 7.30pm

STRICTLY Come Dancing’s stellar professional dancers, 2024 winner Dianne Buswell and 2024 runner-up Vito Coppola are Red Hot and Ready to perform a dance show with a difference, choreographed by BAFTA award winner Jason Gilkison. The dream team will be joined by a cast of multi-disciplined Burn The Floor dancers from around the world. Box office: yorkbarbican.co.uk.

Florence Poskitt’s Margaret Watson, left, Jennifer Jones’s Elizabeth Watson and Livy Potter’s Emma Watson in Black Treacle Theatre’s The Watsons at the JoRo

Play of the week times two: The Watsons, Black Treacle Theatre, Joseph Rowntree Theatre, York, July 9 to 12, 7.30pm and .30pm Saturday matinee; The Watsons,1812 Theatre Company, Helmsley Arts Centre, July 9 to 12, 7.30pm

TWO productions of Laura Wade’s The Watsons open on the same night in York and Helmsley.  What happens when the writer loses the plot? Emma Watson is 19 and new in town. She has been cut off by her rich aunt and dumped back in the family home. Emma and her sisters must marry, fast.

One problem: Jane Austen did not finish this story. Who will write Emma’s happy ending now? Step forward Wade, who takes her incomplete novel to fashion a sparklingly witty play that looks under Austen’s bonnet to ask: what can characters do when their author abandons them? Bridgerton meets Austentatious, Regency flair meets modern twists, as Jim Paterson directs in York; Pauline Noakes in Helmsley. Box office: York, 01904 501935 or josephrowntreetheatre.co.uk; Helmsley, 01439 771700 or helmsleyarts.co.uk.  

Second Summer Of Love: Emmy Happisburgh’s coming-of-age and midlife-recovery tale at Theatre@41, Monkgate

One for the ravers: Contentment Productions in Second Summer Of Love, Theatre@41, Monkgate, York, July 10, 7.30pm

ORIGINAL raver Louise wonders how she went from Ecstasy-taking idealist to respectable, disillusioned, suburban Surrey mum. Triggered  by her daughter’s anti-drugs homework and at peak mid-life crisis, Louise flashes back to the week’s emotional happenings and the early Nineties’ rave scene.

Writer-performer Emmy Happisburgh’s play addresses the universal themes of coming of age and fulfilling potential while offering a new perspective for conversations on recreational drug use, recovery from addiction and embracing mid-life. Box office: tickets.41monkgate.co.uk.

An old story told in a new way: Russell Lucas’s Titanic tale of Edward Dorking in Third Class at Theatre@41, Monkgate. Picture: Steve Ullathorne

Titanic struggle of the week: Russell Lucas in Third Class at Theatre@41, Monkgate, York, July 12, 3pm

EDWARD Dorking was openly gay. On Wednesday, April 10 1912, he set sail for New York on a ticket bought for him by his mother in the hope his American family could put him “right”.

Writer-performer Russell Lucas’s Third Class charts Dorking’s journey from boarding the Titanic to swimming for 30 minutes towards an already full collapsible lifeboat,  and how, on arrival in New York, he toured the vaudeville circuit as an angry campaigner against the injustices of the shipping disaster. Using music, movement, projection and text, Lucas gives a “thrilling new perspective on what feels a familiar tale”, topped off with a Q&A. Box office: tickets.41monkgate.co.uk.

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REVIEW: Futuresound Group presents Elbow, Live At York Museum Gardens, Thursday ***1/2

Here for the cheers: Guy Garvey leading Elbow at Live At York Museum Gardens on Thursday night. Picture: Andy Hughes

NOT all eyes are on Cardiff Principality Stadium for the “rock’n’roll reunion of the century”. York has its own fiesta of outdoor delights this week: Elbow on Thursday, Nile Rodgers and CHIC on Friday, Richard Hawley tonight and the inaugural York Comedy Festival in a Sunday fun-day finale.

Welcome to Leeds promoters Futuresound Group’s second summer of Live At York Museum Gardens, where one big change from Shed Seven’s 30th anniversary revels last summer greets you on arrival.

The stage has moved: no longer in front of the Yorkshire Museum, from where the slope down to the Ouse made viewing more difficult from the back. Now, it is sited against the backdrop of the St Mary’s Abbey ruins, as was the custom with the four-yearly cycle of the York Mystery Plays from their revival for the 1951 Festival of Britain.

And, on the evidence of your 5ft 7ins reviewer’s (disad)vantage point for the first three songs, viewing was still elusive from the rear ranks of a sold-out 4,000 crowd. A case of more heads than Elbow as Starlings, 2024 album Audio Vertigo’s best song, Lovers’ Leap, and new number Adriana Again passed out of sight.

Elbow room only: Thursday’s packed crowd in York Museum Gardens. Picture: Andy Hughes  

One chap cannily resorted to placing his phone camera above his head to watch. Meanwhile, a request to move to the seating by the museum was very kindly accommodated by event staff, facilitating the full picture for this review from Station Approach onwards:  now Elbow could “be everything to me tonight” in the Bury band’s “34th year together” .

You may disagree, but Station Approach, from 2005’s Leaders Of The Free World, is still Guy Garvey’s finest lyric, his best distillation of life and love in a northern town. He is up there with Jarvis Cocker as the north’s supreme gift of the gab as a frontman too, his wit as dry as this summer’s grass.

He reaches regularly for “beautiful”: “beautiful” singalongs; “beautiful night”, “beautiful historic city”, then teases York by suggesting that this “history”, the Jorvik past, the 10th century abbey ruins, are nothing but manufactured tourist attractions, constructed in 1962, like a northern Milton Keynes. 

Later he would make a joke of his singing causing a temporary sound malfunction: “I like to think I destroyed it with that last performance,” he says.

Elbow’s Guy Garvey joining Ripon folk singer-songwriter Billie Marten – regularly featured on his Guy Garvey’s Finest Hour show on BBC 6Music on Sunday afternoons – during her supporting set. Picture: Andy Hughes

Far from it, you can add Garvey’s singing to that list of the beautiful. He is very much the fulcrum, the focus, the master of ceremonies, especially as Elbow – as unglamorous as their name and body part – don’t really do Las Vegas “showbiz”. Well, aside from a five-piece choir, a trio of brass players and a gleaming, huge mirror ball, stage front, for Mirrorball (yes, yes, I know,  what did the Romans ever do for us?).

The dark blue stage backdrop, reminiscent of a fossil and Leeds United’s third kit last season, does not change, like those abbey ruins to either side. That is not a problem in itself, although projections of the band’s performance would have been beneficial for those further away from the stage, just as they had such an impact in the Sheds’ shows in 2024. 

The problem is more when some songs hover close to dirges: Great Expectations, Her To The Earth, The Birds, for example, while Balu, Puncture Repair and Things I’ve Been Telling Myself For Years are graceful but glide by.

The audience chatter rises notably on those occasions, before either Garvey’s humorous banter or a change of pace for the blood-stirring Good Blood Mexico City, from Audio Vertigo, makes its mark.

Robin Hood’s Bay folk luminary Eliza Carthy opening Thursday’s Live At York Museum Gardens bill with The Restitution. Picture: Andy Hughes

On an evening that had begun with sets by Eliza Carthy & The Restitution and Ripon singer-songwriter Billie Marten, by now the night was darkening and stage lights brightening as Elbow hit their stride with “the whistling song”, Lippy Kids. “Build a rocket, boys,” comes the audience refrain en masse. Mirrorball, Magnificent (She Says); they are on a roll now, and it’s all gonna be magnificent from here on in.

Even Sober, from their new Audio Vertigo Echo elbow EP, elicits the most unlikely singalong, its perkiness at odds with the sobriety within. The crowd chanting rises for set-closer Grounds For Divorce, before being surpassed by the encore double delight of My Sad Captains (“Oh my soul”), Station Approach’s contender for Best  Elbow Song Ever, and One Day Like This, the one more commonly crowned with that title.

It took its time, but from Lippy Kids onwards, “one night like this a year did see me right”.

Elbow’s set list, Live At York Museum Gardens, July 3 2025, 8.30pm to 10.30pm

1. Starlings (from The Seldom Seen Kid); 2. Lovers’ Leap (Audio Vertigo); 3. Adriana Again (new, Audio Vertigo Echo elbow EP); 4. Station Approach (Leaders Of The Free World); 5. Kindling (Little Fictions); 6. Puncture Repair (Leaders Of The Free World); 7. Great Expectations (Leaders Of The Free World); 8. Her To The Earth (Audio Vertigo); 9. Balu (Audio Vertigo); 10. Good Blood Mexico City (Audio Vertigo); 11. The Seldom Seen Kid (Flying Dream 1); 12. Things I’ve Been Telling Myself For Years (Audio Vertigo); 13. The Birds (Build A Rocket Boys!); 14. Lippy Kids (Build A Rocket Boys!); 15. Mirrorball (The Seldom Seen Kid); 16. Magnificent (She Says) (Little Fictions); 17. Sober (new, Audio Vertigo Echo elbow EP); 18. Grounds For Divorce (The Seldom Seen Kid). Encores: 19. My Sad Captains (The Take Off And Landing Of Everything); 20. One Day like This (The Seldom Seen Kid).

No songs from 2001’s Asleep In The Dark, 2003’s Cast Of Thousands or 2019 chart topper Giants Of All Sizes.

Night and Day: One Day Like This turns into ‘one night like this a year would see me right’ in the finale to Elbow’s concert at York Museum Gardens. Picture: Andy Hughes 

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Catherine Bott to receive York Early Music Festival Lifetime Achievement Award and perform readings at Le Consort concert

Catherine Bott: Soprano, broadcaster, presenter, festival artistic advisor and now recipient of the York Early Musical Festival Lifetime Achievement Award

SOPRANO singer, broadcaster and presenter Catherine Bott will be awarded the Lifetime Achievement Award at the 2025 York Early Music Festival.

The award will be presented by broadcaster, writer and artistic advisor Lindsay Kemp at the National Centre for Early Music, St Margaret’s Church, Walmgate, on Sunday immediately before the 4.45pm live edition of BBC Radio 3’s Early Music Show.

Catherine, 72, will then return as a guest to the Early Music Show alongside mezzo-soprano Helen Charlston and instrumentalists Ensemble Hesperi. Free tickets to attend the show’s recording have sold out.

Throughout her career, Catherine has been involved with the annual festival, as a performer, jury member, presenter and artistic advisor. “I’m honoured to receive a Lifetime Achievement Award from the pioneering York Early Music Festival, following in the footsteps of so many distinguished friends and colleagues from whom I’ve learnt so much,” she says. “And I’m looking forward to returning to York for a lively weekend of music and conversation.”

She joins the esteemed list of past recipients of an award that honours major figures who have made a significant difference to the world of early music: Belgian flautist Barthold Kuijken; soprano Dame Emma Kirkby; countertenor James Bowman; Spanish conductor and composer Jordi Savall; conductor Andrew Parrott; lutenist Anthony Rooley; harpsichordist and conductor Trevor Pinnock; violinist Catherine Mackintosh and trumpeter Crispian Steele-Perkins.

This year Catherine  will be appearing at the festival with the French instrumental ensemble Le Consort, reading poems that accompany Vivaldi’s Four Seasons concertos at the Sir Jack Lyons Concert Hall, University of York, on Sunday at 7.30pm.

In this celebration of the 300th anniversary of the first publication of Vivaldi’s concertos,  directed by  baroque violinist Théotime Langlois de Swarte, the four vividly pictorial and virtuosic violin concertos will be interlaid with other works by Vivaldi, and preceded by Catherine’s readings of the sonnets (perhaps written by the composer himself) that set out the scenes he evoked in music with flair, brilliance and humour.

Catherine recalls first singing in North Yorkshire at Beningbrough Hall in 1981. “Don’t ask me exactly what I did, but I can remember signing some medieval songs,” she says. “I think it was outdoors and I don’t think it was raining!”

Through the years, she has performed with the Yorkshire Baroque Soloists under conductor Peter Seymour and the Royal Northern Sinfonia at the Sir Jack Lyons Concert Hall.

She is full of praise for York Early Music Festival,  the National Centre of Early Music and, in particular, director Delma Tomlin. “Delma is a force of nature and a force for good. She and the festival have always championed early music and repertoire that’s lesser known than it should be,” says Catherine. “Thanks to Delma, the York Early Music Festival continues to go from strength to strength.”

From 2003, her role as presenter of BBC Radio 3’s Early Music Show brought her to the festival each year for a live show. “So I’m really tickled to be a guest on the show I used to present straight after receiving the award on Sunday, when I’ll be meeting presenter Hannah French for the first time,” says Catherine.

Le Consort: French ensemble’s performance of Vivaldi’s Four Seasons on Sunday will be accompanied by Catherine Bott’s readings

“It’s a lovely award to receive. I do remember in my broadcasting past presenting the award to Jamie Bowman, who said, ‘I’m not sure I want to receive this as it’s suggests it’s all over!’, but I’m happy that I’ve been able to sing with just about every musician I wanted to work with or talk to the musicians I wanted to interview.

“Now I’m joining some very esteemed company, all of whom I’ve performed with except Jordi Savall, who I interviewed!”

Catherine continues: “This award is a wonderful excuse to go back and spend time in this beautiful city crammed with characterful, beautiful concert venues. York is the natural home for this kind of festival because it’s such an historic place.

“I’ve always tried to maximise any visit to York, walking the City Walls, going to the National Railway Museum, making sure I go to Evensong at the Minster. Thi time I shall be arriving Saturday lunchtime and then going to see the evening concert by the Tallis at York Minster.”

Catherine studied at the Guildhall School of Music and Drama in London, then spent two years from the age of 22 singing everything from Bach to Berio with Swingle II, successors to the baroque-jazz crossover group The Swingle Singers, before beginning a distinguished solo career specialising in baroque music.

Among her many recordings are Bach’s St John Passion and Purcell’s Dido and Aeneas and she has premiered and recorded works by contemporary composers Craig Armstrong, Jonathan Dove and Michael Nyman.

She is a Fellow of the Guildhall School and an Honorary Fellow of Trinity Laban Conservatoire of Music and Dance. For ten years from 2003, she combined singing with regular presenting for BBC Radio, scripting and introducing more than 300 editions of The Early Music Show on BBC Radio 3, as well as hosting live evening concerts and the BBC Proms.

She has worked with BBC Radio 4 and has made documentaries on subjects ranging from Auto-Tune to Mantovani and has presented numerous editions of Pick Of The Week.

In 2013, Classic FM invited Catherine to make the move to a more informal style of music broadcasting. She stayed for a decade, with her series Everything You Ever Wanted To Know About Classical Music running for seven years. She also co-hosted The Full Works Concert and presented a live Sunday lunchtime show.

New ways of sharing her love of music continue to evolve and since 2020 Catherine has introduced live-streamed recitals from London’s Wigmore Hall and digital concerts with the Bournemouth Symphony Orchestra, viewed by many thousands worldwide.

York Early Music Festival runs from today (4/7/2025) to July 11. For full details and tickets, head to: ncem.co.uk/whats-on/yemf/.

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York Early Music Festival 2025 is ready to go to Heaven or Hell from tomorrow

Mezzo-soprano Helen Charlston: Going to Heaven or Hell at York Early Music Festival. Picture: Julien Gazeau

HEAVEN & Hell will be the theme of the 2025 York Early Music Festival, a summer fiesta of 19 concerts in eight days featuring international artists from tomorrow.

The Sixteen, the Tallis Scholars and Academy of Ancient Music will be taking part, as will French orchestral ensemble Le Consort, led by rising-star violinist Théotime Langlois de Swarte, in their York debut with an “exceptional rendition of exceptional of Vivaldi’s Four Seasons – but not quite as you know it”.

The festival will intertwine three very different themes: firstly, the music of Renaissance composer Orlando Gibbons, opening with viol consort Fretwork and mezzo-soprano Helen Charlston’s My Days: Songs and Fantasias programme tomorrow at the Sir Jack Lyons Concert Hall, University of York, at 7.30pm.

Secondly, the genius of the Baroque, focusing on Bach and Vivaldi, not least the aforementioned Le Consort performance of The Four Seasons on Sunday at the Sir Jack Lyons Concert Hall at 7.30pm, when Lifetime Achievement Award 2025 recipient Catherine Bott will be the reader.

Thirdly, the strand that lends itself to the 2025 title: a reflection on Man’s fall from grace – from Heaven to Hell – in biblical times with YEMF artistic advisor and BBC New Generation artist Helen Charlston and her fellow Gramophone Award-winner, lutenist and theorbo player Toby Carr, who team up in the medieval Guildhall of the Merchant Adventurers’ Hall on July 9 from 6.30pm to 9.45pm.

“I feel very lucky to have such a bond with the York Early Music Festival,” says Helen, who was a choral scholar at Trinity College, Cambridge, studying music there from 2011 to 2014. “It’s a special festival and it feels like a special connection as I’ve been coming up for many years.

“My early memories of the festival are of doing a few years’ concerts with David Skinner’s vocal consort Alamire. I’ve also sung with the Yorkshire Bach Choir, after Peter Seymour was given my name  and I helped him out for a concert at short notice, and as so often that led to a fruitful partnership.”

Fretwork: Performing My Days: Songs and Fantasiaswith Helen Charlston at Sir Jack Lyons Concert Hall, University of York tomorrow

Helen is in the third year of her role as festival artistic advisor. “I was very honoured to be asked and it’s a lovely way to connect with music-making around the country. I don’t run the festival but I do really love music and thinking about what audiences might like to hear that they haven’t,” she says.

“I can flex my festival muscle thinking about that and it gives me the chance to suggest who could be invited to take part in the festival. For example, this year Le Consort are coming over from France. I know their work from a group called Les Arts Florissants, a French baroque ensemble who I’ve done a young artists’ projects with in Paris. I’ve got to know a few of their players and a few of them will be appearing with Le Consort.”

Festivals are the “perfect launch-pad for collaborations”, says Helen, whose July 9 programme is a case in point. In an open call for the York Early Music Festival Special Commission, NCEM Young Composers Award alumni were invited to respond to the Heaven & Hell theme by writing a piece to be performed by Charlston and Carr as part of their In Heaven & Hell…Yours To Choose programme featuring Purcell, Strozzi, Monteverdi, Charpentier and Humfrey works.

Anna Disley-Simpson has been awarded the commission from a competitive field of 24 applications for her piece Heaven Or Hell, for which she collaborated with librettist Olivia Bell, drawing inspiration from Kurt Weill for a composition that Anna promises will be  “deliberately subversive and unexpected in several ways”.

Supported by the Hinrichsen Foundation and an anonymous donor, Dorset-born, London-based Anna has received a commission fee of £2,000, plus travel and accommodation expenses within the United Kingdom to attend a workshop with the musicians in London and the York premiere.

“Toby and I are doing a programme about heaven and hell after Delma [festival director Delma Tomlin] and I were having a conversation about the York Mystery Plays and it sparked my interest in the idea of York being a place for the retelling of very graphic stories,” says Helen.

“Delma is the governor of the Merchant Adventurers, who sponsor the Last Judgement  in Mystery Play productions, and my initial idea began to spiral into thinking about  how a lot of 17th century music is about heaven and hell. Toby and I decided we wanted to look at performing religious music by composers whose secular works we’ve shared with the festival audience.”

Composer Anna Disley-Simpson

Those works will be complemented by Disley-Simpson’s commission. “We had a whole heap of wonderful ideas put to us by applicants from the Young Composers scheme and had  a lovely day chatting with eight composers before we selected Anna,” says Helen.

“Anna’s piece is wonderful:  a monologue with a second character welcoming you to purgatory, where you have to decide which route you will take, to heaven or hell. I think it’s got something about it that the audience will not quite expect!

“I hope other people will take her work up as a song as I always want to encourage others to perform works to see how they develop when I’ve commissioned a piece.”

In further highlights, The Tallis Scholars present Glorious Creatures at York Minster on Saturday, 7.30pm; The Sixteen perform Angel Of Peace  at York Minster, July 7, 7.30pm, and the Spanish ensemble Cantoria present A La Fiesta!, a sizzling array of ensaladas and villancicos, at St Lawrence Church on July 8, 7pm (sold out).

Swiss-based medievalists Sollazzo return to York for the first time since winning a prestigious Diapason d’Or award to present The Angels Are Singing at the NCEM on July 10, 7pm.

The festival will finish with a flourish in the company of the Academy of Ancient Music and their leader, violinist Bojan Čičić in a celebration of Bach’s violin concertos at the Sir Jack Lyons Concert Hall on July 11, 7pm.

The full programme and booking details can be found at ncem.co.uk/whats-on/yemf/. Bookings also can be made on 01904 658338, via boxoffice@ncem.co.uk and in person at the NCEM, Margaret’s Church, Walmgate, York.  

Violinist Bojan Čičić: Leading the Academy of Ancient Music in a celebration of Bach’s violin concertos at the Sir Jack Lyons Concert Hall on July 11

Copyright of The York Press

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Clare Maria Wood’s ethereal abstract paintings go on show at Bluebird Bakery

Artist Clare Maria Wood at work in her Knaresborough studio. Picture copyright: Clare Maria Wood

KNARESBOROUGH painter and printmaker Clare Maria Wood’s exhibition of ethereal and enigmatic abstract paintings opens at Bluebird Bakery, Acomb Road, Acomb, York, today.

Clare was born and raised near the Yorkshire coast, on the edge of the North York Moors, an environment that sparked a deep and lasting connection to the landscape and the sea.

Her latest paintings reflect this lifelong relationship, capturing the quiet moment just after sunset, when the sea glows, the moors deepen in silhouette and the light begins to fade. These works hold a sense of stillness, memory and emotional presence.

Wood Be Mine, by Clare Maria Wood

“My abstract landscapes and seascapes are my expression of ‘place’, which range from journeys around the craggy Cornish coast to the rugged North York Moors and the wide-open Sussex coastline,” says Clare. “The finished pieces evoke the energy of a living, breathing landscape.

“I see my paintings as a way of conveying an emotional connection to the land, sea and sky. I use sensitive mark-making to transcend the viewer to space beyond physical sight or human knowledge. Perhaps a place of nostalgia, of joy, of what it is to be human.”

Clare walks through the countryside or by the coast each day, in all weathers, with her dog, Poppy. “To be at the edge of the elements, where light shifts and dances; reliant and yet independent of the darkness, is what inspires me to paint,” she says.

​Clare Maria Wood on the coast. Picture: Clare Maria Wood

In her home studio in Crag Lane, Clare works intuitively, often developing several pieces at once, allowing her to see what is working and expand on ideas. “I don’t have an end-point in mind but see the development as a journey of rhythm and space,” she says.

“I build up layered surfaces, using acrylic glazes, gold and silver leaf, drawn marks and hand-painted collage, and then sand back through those surfaces to reveal glimpses of hidden marks and suggested shapes.

“This process allows each painting’s history to emerge, echoing the erosion rhythm and slow transformation of the coast and land. As each piece develops, I take a more critical approach, refining areas while keeping the energy of the initial marks. When the balance and harmony feel ‘right’, then it’s finished.”

Between Light And Sea, by Clare Maria Wood

For Clare, “most days end with a walk at sunset, giving me food for thought for tomorrow’s developments and offering fresh perspective and quiet inspiration for what comes next.”

She studied fine art painting in the late-1980s at Harrogate College of Arts and Technology (foundation course) and Wimbledon School of Art, followed by post-graduate studies at Goldsmiths, University of London. Latterly, she completed a printmaking diploma at the Curwen Print Centre, where she worked under the guidance of Stanley Jones and Chloe Cheese.

Following an academic career as head of art at The Perse School , Cambridge, Clare returned to her own creative practice full-time. Her work has since been selected for prestigious exhibitions, including the Royal Academy of Arts, the Royal Institute of Painters in Water Colours and the Society of Women Artists.

Clare Maria Wood drawing on the moorland. Picture: Clare Maria Wood

She exhibits in galleries around the UK, as well as at art fairs, has paintings in collections in the United States, Australia and around Europe and was awarded a residency at Brisons Veor, Cornwall.

Last month, Clare took part in the two North Yorkshire Open Studios weekends. From today, she will be exhibiting at Bluebird Bakery, Acomb, until August 28, attending this evening’s preview from 6pm to 9pm.

”I am thrilled to be showing statement paintings at the vibrant Bluebird Bakery,” she says. “Come and view my solo show while relaxing over a home-made artisan treat.” Opening hours are 10am to 4pm, Monday to Saturday; 10am to 3pm on Sundays.

Oceanus, by Clare Maria Wood

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Ripon singer Billie Marten plays at Elbow’s Live At York Museum Gardens concert tomorrow ahead of Dog Eared release

Billie Marten: Releasing fifth album Dog Eared on July 18

RIPON folk singer-songwriter Billie Marten will showcase her fifth album in her support slot at Elbow’s sold-out Live At York Museum Gardens concert tomorrow evening.

Released on Fiction Records on July 18, Dog Eared has been trailed by five singles, Swing, Crown, Feeling, Leap Year and now Clover, a song built out of contradictions and oxymorons.

“Clover is a song about feeling small but needing to appear big,” says Billie, 26, who now lives in London. “It’s a note on power and inequality. Most of this record talks about age and experience and relevance, something that’s clogged my mind since I began music.

“I carry a lot of premature worry with me, and that’s something that comes from starting an adult life as a teenager I suppose. I gained the human affliction of inventing things before they happen. I’m a multitude of anxieties.”  

The cover artwork for Billie Marten’s new album, Dog Eared

Billie released her debut album, Writing Of Blues And Yellows, at the age of 17 in 2016, since followed Feeding Seahorses By Hand in 2019, Flora Fauna in 2021 and Drop Cherries in 2023.

She headed to New York last summer to record with producer Phil Weinrobe (Adrianne Lenker, Laura Veirs) at his Sugar Mountain studio, alongside an all-star cast of musicians.

Catalan singer-songwriter/guitarist Núria Graham, bassist Josh Crumbly, virtuosic guitarist Mike Haldeman, multi-instrumentalist Shahzad Ismaily, indie-rock musician Sam Evian, former Dirty Projectors vocalist/folk musician Maia Friedman, Brazilian percussionist Mauro Refosco, drummer/multi-instrumentalist Vishal Nayak, keys/synth player Michael Coleman and Vermont folk musician Sam Amidon all sprinkle their gold dust over Dog Eared.

Together they add up to a band with credits across records by Cassandra Jenkins, Kamasi Washington, Moses Sumney, Robert Glasper, Tune-Yards, Empress Of, Nick Hakim, David Byrne, Atoms For Peace, Feist, Bonnie “Prince” Billy and now Billie Marten.

Billie Marten’s Record Store Tour: Visiting Sheffield and Huddersfield
 
Since 2023’s Drop Cherries, Billie has spent her time largely on the road, honing her craft as a deeply instinctual artist and songwriter. Living and learning. Playing and writing. Collaborating with gifted strangers. Exploring questions of identity and self. All the while, sending demos and voice-notes across the Atlantic to Weinrobe and watching those embryonic songs come to life and flourish fully realised in the studio.

The resulting Dog Eared track listing comprises Feeling; Crown; Clover; No Sudden Changes; The Glass; Leap Year; Goodnight Noon; Planets; You And I Both and Swing.

Producer Weinrobe enthuses: “Dog Eared is a miracle. This record feels like what music is supposed to be: a creative dialogue between wide-open musicians, all pushing in the exact same direction. And that direction is clear – the controls are set for the heart of Billie’s incredible songs. 

“Yes, the record was recorded live. Yes, Billie sang the lead vocals as it was going down. Yes, we were huddled up in a circle – no headphones, no walls, no playback, nothing separating each person from the next, and nothing separating the performers from their performances.

“I’ve discovered that I have a really particular long-term memory,” says Billie Marten

“But that’s not why this record is a monument. It’s a monument because Billie walked into the studio every morning and opened her mouth and sang these incredible melodies and gorgeous lyrics without any worries or fears or desires to control the art. She was the art. And everyone surrounded her, and lifted her up, and in turn she lifted the music to heights that we are all lucky to get to listen to, on repeat, forever.”

Billie highlights the opening track, Feeling. “I’ve discovered that I have a really particular long-term memory: I have specific sensory recollections from when I was two onwards, that I can recall easily now,” she says.

“One of these is marking out roads in my grandmother’s patterned carpet, for my Dad’s old 1950/60s’ toy cars to drive on. I used to trace patterns in everything: fabric seats at the dentist, carpets, wallpaper and walls, raindrops on car windows. Everything had a pattern to be noticed.”

Billie Marten’s Dog Eared Tour 2025 itinerary

Billie adds: “Another strong memory is the feeling of big, warm hands when you’re a child and how comforting and safe that feels. The notion of age being so far away from you, but you know it’s a future inevitability, and that you’re on your way there. The inarticulateness of that ‘feeling’ you can’t describe yet, but you’re aware of a push in the world that you don’t yet understand.”

“Feeling is really set alight by Núria Graham’s guitar part, the one you hear from the outset. It sparks the album info life and really sets a benchmark in terms of rhythm. This is an album of rhythmic focus.”

Billie will be supporting Elbow tomorrow fresh from performing on the Acoustic Stage at Glastonbury last Friday. She will play Yorkshire acoustic sets at Beartree, Sheffield (afternoon show), and Vinyl Tap, Huddersfield (evening show), on her solo Record Store Tour itinerary, followed by Leeds Irish Centre on November 14 on her eight-date Dog Eared headline tour, when Le Ren supports. Tickets are on sale at billiemarten.com.

Futuresound Group presents Elbow, Billie Marten and Eliza Carthy & The Restitution at Live At York Museum Gardens, York, tomorrow. Gates open at 5pm. SOLD OUT.

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A Night To Remember will return to York Barbican on November 12. Who will play at Big Ian Donaghy’s big charity show?

Jessica Steel: Soul and blues at A Night To Remember at York Barbican

TEN decades will sing together in an unforgettable night at York Barbican on November 12.

This year, Big Ian Donaghy’s big charity concert, A Night To Remember, will celebrate its 12th anniversary after selling out Leeds City Varieties Music Hall in 2013, York Theatre Royal in 2014 and Grand Opera House in 2015, en route to finding its home at York Barbican nine years ago.

“Over the years, these nights have taken community charity concerts to another level as every detail is focused on giving the York audience a night they truly deserve where no corner is cut for this unique event,” says Big Ian.

“The level of production surpasses most touring shows, from outstanding sound from Craig Rothery to thought-provoking films on vast video walls and a 30-piece band’s level of musicianship.”

Big Ian Donaghy working the crowd at A Night To Remember. Picture: Karen Boyes

Host Big Ian will seek to make the audience laugh, cry, sing, dance and part with money as he shows why he is so in demand as an event speaker and host, filling venues such as London Excel and Birmingham NEC regularly.

“No other show has musicians from ten decades on stage,” he says. “The format is unlike other shows too as everyone guests on everyone else’s songs with a wall of rich, lush harmonies.”

As ever, George Hall will lead the 30-piece house band, containing members of York party band Huge, to accompany contributions by Jessica Steel, Heather Findlay, Simon Snaize, Graham Hodge, The Y Street Band, Las Vegas Ken, Annie Donaghy, fiddle dynamo Kieran O’Malley and soprano Samantha Holden.

“After eight years of shows together, this unlikely bunch has now become more like family,” says Big Ian.

Heather Findlay performing at A Night To Remember. Picture: David Kessel

York Music Forum Big Band will be performing under conductor Ian Chalk, celebrating a year of success when these young York musicians were crowned Big Band of the Year at the Northern Jazz Awards, as well as winning numerous individual plaudits for solo musicianship.

Look out too for a bespoke choir created for the Barbican show by Easingwold singer and choir workshop leader Jessa Liversidge. “Featuring singers from ten decades, it will show the magic that happens when generations come together,” says Big Ian.

As always, A Night To Remember is priced affordably with all ticket money going to good causes in York as the community sings with one voice.

“The concert raises much-needed funds for St Leonard’s Hospice, Bereaved Children Support York and Accessible Arts and Media to get people with learning difficulties into performing,” says Big Ian.

Beth McCarthy on stage at A Night To Remember. Picture: Duncan Lomax, Ravage Productions

Beth McCarthy, the York singer now based in London with 481,000 Instagram followers, will be joining the show  before her European tour takes her to theatres in Amsterdam, Paris, Rome and Barcelona.

“We are so lucky to still have Beth as part of the team,” says Big Ian, her former school teacher at The Mount. “She’s come a long way since she played our first school concert when she was 12 and I was brought in as Jack Black for their summer School Of Rock-style festival Mountstock.

Beth, who competed on BBC One’s The Voice  at the age of 16, has played the main stage at BBC Big Weekend and recorded live sets for BBC Radio 1 at Maida Vale Studio. 

“Beth owned the stage the last time we did A Night To Remember,” says Big Ian. “Her level of performance has reached a whole new level. She’s a fully formed performer with so much talent and energy.” 

Kieran O’Malley: On the fiddle at A Night To Remember at York Barbican. Picture: David Kessel

Looking forward to November 12’s set list of favourite anthems, Jo Cole, of Bereaved Children Support York, says: “A Night To Remember was our biggest contributor when we started out and has been invaluable in allowing us to provide one-to-one counselling for families. They have helped us for nine years.

“But it’s not just the money that’s raised at these nights, it’s how it raises the profile of the charities and brings everyone together.”

A Night To Remember has become the UK’s biggest concert to raise dementia awareness, drawing people  from all over the country.

“The night also funds some bespoke dementia projects in the city, including art classes with Sue Clayton, singing, gardening groups and Xmas Presence to combat loneliness in our older community,” says Big Ian.

Graham Hodge: Regular participant in A Night To Remember. Picture: David Kessel

“This is a unique evening of York helping York. Already I’ve filmed some surprise films from very well-known names from TV to surprise the crowd.”

Fewer than 100 tickets are still available for the stalls.  “Be quick,” advises Big Ian. “We also ask everyone to bring a raffle prize and some money for raffle tickets for York’s biggest raffle on the night.

“Who knows how much we can add to the £200,000 raised since we started A Night To Remember?”

Tickets cost £20 from yorkbarbican.co.uk. “Don’t just save the date. Get a group of friends out and book your tickets for Wednesday, November 12 2025 to avoid disappointment,” says Big Ian.

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Chance to sign up for Paul Birch’s Funny Business scripted comedy workshop for Settlement Players on Sunday afternoon

Paul Birch: Leading scripted comedy workshop for York Settlement Community Players on Sunday

FRIARGATE Theatre artistic director, comedy writer and improv supremo Paul Birch is to hold a workshop for York Settlement Community Players on scripted comedy on Sunday (6/7/2025) at Room 1, Southlands Methodist Church, York.

“This Funny Business workshop is a great way to find your funny and explore ways in which to play comedic texts without worrying about getting laughs,” says Paul. “Using a range of scripts and some helpful games and exercises, this session will equip actors and directors to love, rather than fear, the comedic text.”

The charge for Sunday’s 2pm to 4.30pm session is £10 or “a bit more if you can manage it”. “Paul is doing the workshop at no charge to YSCP to help us out of our current financial difficulties because he is a thoroughly decent bloke,” says organiser Maurice Crichton.

To reserve your place (16 maximum), email Maurice at maurice.crichton@ntlworld.com.