‘Artists are very difficult to be around,’ says Benjamin Francis Leftwich as he plays homecoming gig at The Citadel tomorrow

Benjamin Francis Leftwich: Looking to a higher power as a conduit for his songwriting. Picture: Harvey Pearson

NOW living in North London, singer-songwriter Benjamin Francis Leftwich heads back home tomorrow (25/2/2022)  to play The Citadel, his second church gig in York after his sold-out Minster concert in 2019.

The 7.30pm show is part of a 26-date tour from February 1 to March 4, showcasing To Carry A Whale, his fourth album for Dirty Hit Records, released last June.

Recorded over four months in his Tottenham home, at Urchin Studios in Hackney, in a hotel room in Niagara and in a Southend studio owned by Get Cape. Wear Cape. Fly’s Sam Duckworth, who shared production duties with Adele collaborator Eg White, it was the first record to be made by Ben entirely sober.

He has maintained that state since spending 28 days in rehab in January 2018, and it is reflected in the album title. “To Carry A Whale is an observation on what it’s like to be a sober alcoholic addict several years in,” he says. “A whale is heavy to carry. It’s gonna hurt you to carry it, but it’s also beautiful, and it’s a miracle to be able to carry all that at all.”

Carry it he does, but Ben is thriving on his creativity at 32. “I’m very lucky to do this, to write songs. I’ve been given a gift and I’m the custodian of it for now,” he says.

At the time of this interview – pre-tour in January – he was in a West Hampstead studio. “I’m working with Jimmy Hogarth and Bonnie Kemplay, a new artist with Dirty Hit,” he said. “We’re just jamming, writing a bit with Jimmy, who’s a legendary producer who’s also worked with Sam Griffiths [Ben’s fellow York songwriter and frontman of The Howl & The Hum].”

The artwork for Benjamin Francis Leftwich’s fourth album, To carry A Whale, released last June

Ben is now on the road, playing solo around the country. “That’s been a been a big conversation with my managers and label: should I play with musicians or go it alone – and we decided I’d do it totally solo, with just my tour manager James Kellegher and a sound engineer,” he says.

“I kind of like it this way. It gives me freedom with the set list and logistically it’s easier to tour this way. That’s how my bread is buttered. That’s how I started.”

Add the support acts Elanor Moss and Wounded Bear (alias Josh Finn), and “it will be three musicians singing from the heart and hopefully breaking hearts too,” says Ben.

Expect a few piano-based numbers in an acoustic set where all four albums – 2011’s Top 40 debut Last Smoke Before The Storm, when he was Dirty Hit’s first signing, 2016’s After The Rain, 2019’s Gratitude and last year’s To Carry A Whale – will be represented.

“Of course, I want to do songs from the latest record, but I have four to pick from and I’m under no illusion that people aren’t coming to see me for the songs they first loved,” says Ben.  “If I play songs they don’t know, then the line between disrespect and a musician’s right to autonomy is a fine one, but it should always be an opportunity to play new songs.”

Whereas actors and dancers must be disciplined team players, always on time for rehearsals and performances, rock musicians tend to be born out of rejecting rules, codes of conduct and 9 to 5 rituals.

“I’m very lucky to do this, to write songs,” says Ben. “I’ve been given a gift and I’m the custodian of it for now”

“It’s funny; I’ve got really into musical theatre – randomly but now I love it – and that’s a world where you train hard, you’re on a contract, whereas the life of a musician…you turn up when  you want, you might turn up high, you might be drunk; you might cancel the gig if you don’t feel like playing, but that’s why so many great songs have come out of that madness!” says Ben.

“Artists are very difficult to be around. We’re very prideful; we’re a nightmare to be in a relationship with; we want to be the centre of attention.”

 Yet, for all the baggage that goes with the outsider’s role, at the same time he feels a calling, a responsibility even, to create songs. “I believe that the songs are above us, to reach for, and if we limit a higher power, a god, when we can pluck magic out of nothing, then we limit the potential for beauty,” says Ben.

“For me, I have so many situations where songs come together in different ways. I think it’s like, ‘I’m not God, I can’t do this on my own’, but sometimes songs land on my lap, like when I was writing my first album on my own out of necessity.

“But so many wonderful songs come out of collaborations, though it takes a long time to be open hearted enough to entertain the thought that my ideas might not be my best just on their own.

“Allowing someone like Sam Duckworth to be the co-captain of the ship gave To Carry A Whale a cohesive energy that really benefited it.”

Benjamin Francis Leftwich in contemplative mood at York Minster ahead of playing the Nave in April 2019

Artists are sensitive, says Ben, to the point where “sadly it’s no secret that lots of us decide we don’t want to be alive anymore”, as he struggled after his father, University of York politics professor Dr Adrian Leftwich, died from cancer in April 2013. 

“It’s hard to explain. Single parents, teachers, are the real rock stars, but we do have things we struggle with, and it’s good to talk about it. There’s a lot of witchcraft around, but the only touchstone to spiritual growth that I’ve experienced is suffering.”

From there, as well as “from above”, come the songs of To Carry A Whale. “It was an honest record; I surrendered to it, I said what I wanted to say, people are discovering it, and I’m really looking forward to playing the songs at The Citadel,” he says.

“I last went there for a religious ceremony when I was at school [he attended Bootham School], so I know it’s a magical place to play.”

Looking to the future, Ben already has a producer lined up for his next album. “It’s half written, but whether it’s a year or ten, it will be finished when it is,” he says. “I’ll colour it in as it goes along.”

Benjamin Francis Leftwich plays The Citadel, Gillygate, York, tomorrow (25/2/2022), supported by Elanor Moss and Wounded Bear, at 7.30pm. Box office: thecrescentyork.com. Also playing The Foundry, Sheffield, tonight; The Parish, Huddersfield, Saturday.

York Early Music Festival rejoices in return to full-strength programme from July 8

Director Harry Christophers (holding rail, sixth from left) with seemingly rather more than 16 in The Sixteen, playing York Early Music Festival on July 9

FOR the first time since 2019, the York Early Music Festival will be at full strength this summer for nine days of concerts, talks and workshops under the theme of Connections.

Highlights during the festival run from July 8 to 16 include The Sixteen, The Tallis Scholars and Gabrieli Consort & Players, all at York Minster, and the return of the York International Young Artists Competition.

The programme also features gamba specialists Paolo Pandolfo & Amélie Chemin; The Gonzaga Band; The Rose Consort of Viols; the University of York Baroque Ensemble; Orí Harmelin; Profeti della Quinta; the Yorkshire Baroque Soloists and Ensemble Voces Suaves.

Tickets are on sale on 01904 658338, at ncem.co.uk or via email to boxoffice@ncem.co.uk, with discounts available for Friends and under 35s.

“The festival presents a series of concerts linked together through a maze of interconnecting composers, shining a light on the many connections that hold us together in the past and into the future,” says director Delma Tomlin, explaining the festival theme.

“This year’s theme is Connections, connecting and indeed reconnecting music, artists and, of course, our audiences,” says York Early Music Festival director Delma Tomlin

Concerts will be supported by a series of illustrated talks, workshops, opportunities to ‘Come and Sing’ and informal recitals at a festival presented in historical venues such as York Minster, the Merchant Adventurers’ Hall, St Lawrence’s Church and the festival headquarters, the National Centre for Early Music (NCEM), in the medieval St Margaret’s Church building in Walmgate.

The festival’s grand finale will be the York International Young Artists Competition 2022, wherein ten groups from across Europe will give informal recitals at the NCEM at 10am and 2pm on July 14 and 15 before competing for the prize on July 16. 

The winners will receive a professional CD recording contract from Linn Records, a cheque for £1,000 and opportunities to work with BBC Radio 3 and the NCEM. Additional prizes will be supported by Cambridge Early Music, the European Union Baroque Orchestra Development Trust and the Friends of York Early Music Festival.

“We are delighted to be presenting a nine-day festival of music in our beautiful city, staged in some of the country’s most architecturally stunning buildings,” says Delma.

“This year’s theme is Connections, connecting and indeed reconnecting music, artists and, of course, our audiences. As always, we’ll be celebrating the glorious music of the past but also looking forward, as we’re able at last, to stage the York International Young Artists Competition, showcasing and nurturing the performers of the future.

The Tallis Scholars: Making Choral Connections at York Minster on July 11

“We’re so pleased to be back at full strength, and we can’t wait to welcome you to York for what promises to be one of the most exciting festivals to date.”

Those unable to attend are advised that the festival will be offering many of the concerts online across the summer. Full details will be available from ncem.co.uk.

Audience safety and comfort is a continuing priority in an ever-changing environment for the NCEM and York Early Music Festival. Check out the full guidance at ncem.co.uk/covid-guidelines.

The 2022 York Early Music Festival programme:

July 8, 7.30pm: Paolo Pandolfo & Amélie Chemin, viola da gamba duo, Heavans Joy, The World of the Virtuoso Viol, at NCEM, York.

July 9, 9.30am: Master And Pupil, workshop led by The Gonzaga Band director Jamie Savan, at Clements Hall, Nunthorpe Road, York. Singers and players of Renaissance wind and string instruments look at the polychoral repertory of Giovanni Gabrieli and Heinrich Schütz.

Ensemble Voces Suaves: Schutz happens at St Lawrence’s Church on July 15

July 9, 12 noon: The Sixteen Insight Day, at NCEM, York. Insight Day explores stories behind The Sixteen’s Choral Pilgrimage repertory. Discover more with singer and practical scholar Sally Dunkley, organist Robert Quinney and a consort of Sixteen singers.

July 9, 7.30pm: The Sixteen, Author Of Light, at York Minster. Harry Christophers directs a choral programme focused on Hubert Parry’s Songs Of Farewell.

July 10, 2pm: The Early Music Show, BBC Radio 3 live broadcast presented by Hannah French with selected festival guests, at NCEM; free to those attending a festival event. Immediately afterwards, violinist Kati Debretzeni presents delayed 2020 York Biennial Lifetime Achievement Award to violinist Catherine Mackintosh.

July 10, 4.45pm: Minster Minstrels, Fairest Isle, directed by Ailsa Batters, at Unitarian Chapel, St Saviourgate, York. NCEM’s youth instrumental ensemble performs music from the late 17th-century theatre, court and household to demonstrate the influence of the new Italian and French styles in post-Restoration England.

July 10, 7.30pm: The Gonzaga Band, Venice 1629, directed by cornett player Jamie Savan, at NCEM, York. Vocal works by Claudio Monteverdi and Alessandro Grandi and virtuosic Baroque instrumental music by wind player Dario Castello and violinist Biagio Marini feature in a series of snapshots from an extraordinary year in the life of this most musical of cities.

The Gonzaga Band: Snapshots of Venice, 1629 on July 10

July 11, 10.30am: Schutz In Venice, illustrated talk by Jamie Savan, at Bedern Hall, York. On his second visit to Venice in 1628-29, German composer Heinrich Schütz would surely have met Monteverdi, by now maestro di cappella at St Mark’s, but this talk also introduce lesser-known 1620s’ Venetian innovators in modern vocal and instrumental music.

July 11, 1pm: Rose Consort of Viols, with virginals player Steven Devine, Music For Severall Friends, at NCEM, York. Anniversary-marking concert of viol consort works by two British composers, the conservative Thomas Tomkins (born in 1572) and the more radical Matthew Locke (b.1622).

July 11, 7.30pm: The Tallis Scholars, Choral Connections, at York Minster. Director Peter Phillips explores connections between Josquin des Prez and his successor at the Sistine Chapel, Palestrina; Byrd and his English forebear Taverner.  

July 12, 10.30am: An Italian In London, illustrated talk on The Case of Angelo Notari, musician and spy, by Jonathan Wainwright, at Bedern Hall, York. Italian-born Notari moved to England in 1611, making his career as a court musician. Little was known about his time in Italy, until recently, prompting this examination of his  life and (newly attributed) compositions.

July 12, 1pm: La Vaghezza, Sculpting The Fabric, at St Lawrence’s Church, Hull Road, York.  Stars of the EEEmerging+ programme, this young Italian ensemble presents early-17th century Italian works by Cavalli, Merula, Vitali, Fontana and Rossi from debut album Sculpting The Fabric.

Gabrieli Consort & Players: Re-creating a Venetian Coronation at York Minster on July 13

July 12, 7.30pm: Profeti Della Quinta, Lamento d’Arianna, Italian Renaissance music from Rore to Monteverdi, at NCEM, York. Winners of the 2011 York Early Music International Young Artists Competition take a journey that connects early 16th-century ‘classical’ madrigal to Monteverdi’s ‘operatic’ solo madrigals in 17th-century Mantua. 

July 13, 1pm: University of York Baroque Ensemble, Mannheim Travels To Fife,
Early Symphonists and Two Brothers, at St Lawrence’s Church, Hull Road, York. Highlighting works by Mannheim symphony kick-starter Johann Stamitz, Italian brothers Giovanni Battista and Giuseppe Sammartini, Johann Christian Bach and Scottish composer Thomas Erskine.

July 13, 7.30pm: Gabrieli Consort & Players, A Venetian Coronation, 1595, directed by Paul McCreesh, at York Minster. Spectacular re-creation of the festive Coronation Mass of the Venetian Doge Marino Grimani at St Mark’s, Venice, in 1595, to mark the Gabrieli Consort’s 40th anniversary.

July 13, 9.45pm: Ori Harmelin, Neshima: The Hebrew For Breath, at Undercroft, Merchant Adventurers’ Hall, Fossgate, York. Theorbo specialist explores arrangements of madrigals, motets and chansons by Cipriano de Rore, Josquin des Prez and Thomas Tallis, complemented by Harmelin’s compositions and Irishman Simon McHale’s The Orbo.

July 14 and July 15, 10am and 2pm: International Young Artists Competition Recitals 1 and 2, at NCEM, York. Informal recitals featuring all the ensembles taking part in the 2022 competition, performing music from the Middle Ages to the early Classical period, introduced by master of ceremonies Professor John Bryan.

Ori Harmelin: Theorbo concert at Merchant Adventurers’ Hall on July 13

July 14, 7.30pm: Yorkshire Baroque Soloists, Bach’s Other Leipzig, directed by Peter Lawrence, at St Lawrence’s Church, Hull Road, York. Not only composing for two churches when in Leipzig, Bach also wrote four ‘Lutheran masses’ in 1738/39 and the Coffee Cantata for Zimmermann’s Caffeehaus, a miniature comic opera on the pressing subject of coffee addiction, featured here.

July 15, 4.30pm: Come and Sing Handel’s Messiah, at St Olave’s Church, Marygate, York. Peter Seymour, conductor, and Ben Horden, organ, invite allcomers to Come and Sing a selection of choruses from Handel’s Messiah in a short rehearsal and performance.

July 15, 7.30pm: Ensemble Voces Suaves, Enrico Sagittario: Heinrich Schütz in Italy, at St Lawrence’s Church, Hull Road, York. Exploration of the Italian side of German composer Heinrich Schutz, putting music from his debut collection alongside madrigals by Gabrieli and Monteverdi that inspired him, plus toccatas for theorbo by Girolamo Kapsberger, an Italian composer with roots in Germany.

July 16, 10am: York International Young Artists Competition, at NCEM, York. 2022 competition, featuring ten groups, will be presented by John Bryan and judged by Edward Blakeman, from BBC Radio 3; Albert Edelman, president of Réseau Européen de Musique Ancienne; Linn Records producer and recording engineer Philip Hobbs;  violinist Catherine Mackintosh and harpsichordist and professor Barbara Willi.

Profeti Della Quinta: Italian Renaissance music from Rore to Monteverdi at NCEM on July 12

Hope springs eternal in jam-packed concert season at National Centre for Early Music

Cantoria: Celebrating Early Music Day with El Jubilate concert on March 18

THE Spring Season is up and running at the National Centre for Early Music, Walmgate, York.

In a busy first week, last Monday, folkloric duo Heal & Harrow’s Rachel Newton and Lauren MacColl paid a humanising tribute to those persecuted in the 16th and 17th century Scottish witch trials.

Last Friday, the Grace Smith Trio – Smith on fiddle, Sam Patridge, concertina, and Bevan Morris, double bass – performed with the participants in the National Youth Folk Ensemble (NYFE) programme, under the artistic direction of Partridge. The NCEM hosted the NYFE’s first residency in two years for workshops leading up to the concluding concert.

Saturday’s University of York Song Day took the theme of Shakespeare In Love in a programme devised by pianist and Ryedale Festival director Christopher Glynn, who was joined in a lunchtime concert by soprano Rowan Pierce and tenor Ed Lyon and later by mezzo-soprano Kathryn Rudge in a masterclass for student singers.

Moishe’s Bagel: Door-to-door delivery of klezmer and folk music on March 9

The University of York Baroque+ Day will follow on June 4 with the theme of 100 Years In Berlin: a day to explore the musical life of the Prussian capital – from the Baroque to the early Romantic period – in three concerts in the company of the University Baroque Ensemble, under the direction of Rachel Gray and guest leader Catherine Martin; pianist and broadcaster David Owen Norris and classical wind specialists Boxwood & Brass.

On Sunday evening, the Songlines Encounters Festival presented Kayhan Kalhor and fellow Iranian, musician and composer Kiya Tabassian, Kalhor’s student of many years, in an evening of exquisite improvisations. Kalhor is a virtuoso of the Persian spiked fiddle, the kamancheh, but here he performed on the setar, a four-stringed lute with 25 movable frets, often associated with Sufism.

“Our spring season is jam-packed with musical delights, welcoming in a new year with more than a little hope that 2022 will be happier and healthier for us all,” says NCEM director Delma Tomlin.

“Guest artists will include some of the finest folk, jazz, global and early music specialists on the circuit today, with highlights including the welcome return of sax virtuoso Snake Davis, the ever-entertaining Moishe’s Bagel and folk legends Aly Bain & Phil Cunningham, whose concert is finally on after repeated postponements in lockdown.

NCEM director Delma Tomlin: “Welcoming in a new year with more than a little hope that 2022 will be happier and healthier for us all”

“As ever, we offer a warm welcome to artists from across the world and are particularly delighted to welcome the vibrant strings of VOŁOSI; qanun specialist Maya Youssef, from Syria, and the sparklingly young vocal ensemble Cantoria from Spain. All are guaranteed to bring warmth, entertainment and joy to our audiences.”

Coming next, on March 9, will be the return of Edinburgh’s Moishe’s Bagel with their cutting-edge klezmer and folk music, combining life-affirming Eastern European dance music, Middle Eastern rhythms and virtuoso improvised performances. Expect new pieces alongside favourites.

On March 11, Scottish folk duo Aly Bain & Phil Cunningham combine humorous banter with heartstring-tugging tunes, joyous reels and melodies aplenty in a partnership that has runs to 30 years now.

Booked for March 17, powerhouse English folk trio Faustus have spent much of the past two years researching and writing new material from the poetry of the 1860s’ Lancashire Cotton Famine, resulting in moving new songs, as heard on the Cotton Lords EP. 

Aly Bain & Phil Cunningham: Playing together for three decades

In the line-up will be Benji Kirkpatrick, from the Seth Lakeman Band, Steeleye Span and Bellowhead; Saul Rose, from Waterson:Carthy, Eliza Carthy’s Wayward Band and Whapweazel, and Paul Sartin, from Bellowhead and Belshazzar’s Feast.

Cantoría celebrate the 2022 Early Music Day with El Jubilate, a March 18 programme drawn from the Spanish songbooks of the Renaissance, brimful of desire, passion and sin, but fiery devotion, love, joy and solitude too.

At 7pm, Cantoria – featuring soprano Inés Alonso, countertenor Oriol Guimera, tenor Jorge Losana and bass Valentin Miralles – explore a world of demons, saints and people that lived with the same complicated emotions that we face today.

This Spanish ensemble gave a performance at the Beverley and East Riding Early Music Festival four years and have participated in the EEEMerging+ programme for two years. They will be in residence at the NCEM in March, leading up to the concert.

Trish Clowes with her My Iris band members: Seeing eye to eye in York on May 3. Picture: Brian Homer

Innovative folk accordionist, vocalist and clog dancer Hannah James, a key figure in the revival of English percussive dance, unites with globetrotting, post-classical, improvisational French cellist Toby Kuhn for Sleeping Spirals, an April 8 concert full of playful chemistry, warmth and soul, as they resume their new project started last autumn.

On April 20, led by British composer and violinist Christian Garrick, Budapest Café Orchestra perform a blistering barrage of traditional folk and gypsy- flavoured music that takes in the Balkans and Russia, Klezmer laments, Romanian doinas, Hungarian czadas and their own re-imaginings of big tunes by classical greats.

Flook, in the NCEM diary for April 27, take inspiration from Irish and English sources, weaving and spinning traditionally rooted tunes over precise acoustic grooves with a bold, adventurous musical imagination, as whistle player Brian Finnegan, flautist Sarah Allen, guitarist Ed Boyd and bodhran player Joihn Joe Kelly have been doing for more than 25 years.

Saxophonist-to-the-stars Snake Davis is welcomed back to the NCEM on April 28, this time in a new venture with arranger, composer and pianist Robin A Smith, musical director for the London Olympics opening ceremony in 2012.

Snake Davis and Robin A Smith: New venture at the NCEM on April 28

Sparring partners for decades, spearheading the Classic Chillout movement 20 years ago, they now team up to celebrate the joy and power of classical, folk, pop and jazz music.

Another saxophonist, Trish Clowes, leads her jazz band My Iris in their York debut on May 3, providing pianist Ross Stanley, guitarist Chris Montague and drummer James Maddren with a high-intensity platform for individual expression and improvisation, delivering driving grooves and lingering melodic lines, as they “seamlessly morph between earthy restlessness and futuristic dreamscapes”.

The Yorkshire Silent Film Festival returns to the NCEM on May 10 to present the 1929 Indian box-office smash A Throw Of The Dice (PG), accompanied by an improvised live score by Utsav Lal, a young Indian pianist noted for his innovative piano renditions of Hindustani ragas.

Based on an episode from The Mahabarata, this lavishly romantic silent film tells the story of rival Indian kings – one good, one bad – who fall in love with the same woman. Filmed in India with 10,000 extras, 1,000 horses, 50 elephants and an all-star Indian cast, it rivals Cecil B De Mille for screen spectacle.

VOŁOSI : Seeking to “exceed the limits of string instruments” on May 23

After 700 concerts in 34 countries, the string-driven VOŁOSI make their NCEM debut on May 23, led by violinist Krzysztof Lasoń and cellist Stanisław Lasoń, who first joined forces with traditional performers deep in the heart of the Carpathian Mountains in 2010. From those roots, the Polish band seek to “exceed the limits of string instruments” with their modern, powerful and emotional playing.

On June 9, Maya Youssef, queen of the qanun, the 78-stringed Middle Eastern plucked zither, showcases Finding Home, an album that takes a journey through memories and the essence of home, both within and without, as she explores the emotional and healing qualities of music.

“It’s about finding that place of peace, that place of softness, comfort and healing, which manifests in everyone in a unique way, from finding home in nature to the people who make us feel that sense of relief and peace,” says Maya, who will be joined by the musicians from the recording sessions that were rooted in the Arabic classical tradition but forged pathways into jazz, Western classical and flamenco styles too.

For Maya, who was born in Damascus, Syria, and has lived in the UK since 2012, the act of playing music is a both a life and hope-affirming act and an antidote to what is happening, not only in Syria, but across the world.

This will be the first of three concerts to be staged at the NCEM under the umbrella of the York Festival of Ideas. In the second, on June 12, guitarist, composer and ukulele virtuoso Richard Durrant at last cycles into York on his Covid-delayed Music For Midsummer musical pilgrimage from Orkney to Brighton Open Air Theatre for the summer solstice.

Maya Youssef: Finding Home at the NCEM on June 9

Expect plenty of tales from the road, as well as original guitar music, British-flavoured folk and Bach on the uke as he celebrates the release of his Rewilding album.

For the third concert, double bassist and composer Alison Rayner leads her vibrant, award-winning quintet through “songs without words” on June 17 in the company of Buster Birch, drums, Deirdre Cartwright, guitar, Diane McLoughlin, saxophones, and Steve Lodder, piano.  

Their music-making combines richly nuanced compositions, rhythmic interplay and folk-infused melodies with a cinematic quality, a love of improvisation and a strong sense of narrative.

Already booked for the autumn are She’koyokh, an international seven-piece klezmer and Balkan band from London, on October 30 (6.30pm) and Scottish fiddler, composer John McCusker, celebrating his 30th anniversary as a professional musician, on November 2.

Performances start at 7.30pm unless stated otherwise. Box office: 01904 658338 or at ncem.co.uk.

Marti Pellow talks architecture? Learn more in Two Big Egos In A Small Car episode 78

TWO Big Egos In A Small Car arts podcasters Graham Chalmers and Charles Hutchinson compare notes on their separate interviewing experiences with Marti Pellow, smarty fellow of pop, ahead of his York Barbican greatest hits show on May 3.

Prompted by his Wet Wet Wet exit, Chalmers & Hutch then discuss famous bands’ substitute singers, from Genesis to AC/DC, Black Sabbath to Buzzcocks.

Plus why Kenneth Branagh’s second Agatha Christie revamp, Death On The Nile, bristles with much more than Poirot’s monumental moustache; Harry Sword’s deep dive of a book on drone music, Monolithic Undertow – In search Of Sonic Oblivion… and a Sting in the tail end.

To listen, head to: https://www.buzzsprout.com/1187561/10087660

Betcha by golly wow, The Stylistics are on their way to York Barbican in November

The Stylistics: “We can’t wait to be back in the UK”

PHILADELPHIA soul veterans The Stylistics will play York Barbican on November 27 on their 27-date autumn tour.

Further Yorkshire dates will follow at Halifax Victoria Theatre on November 29 and Sheffield City on November 30, each starting at 7.30pm.

The Stylistics will tour with founder members Airrion Love and Herb Murrell, both 72, alongside ‘Bo’ Henderson and Jason Sharp.

“We can’t wait to back in the UK performing all our hits, bringing back great memories and having a great evening with you all,” they say.

Formed in 1968 with a line-up of Russell Thompkins Jr, Love, Murrell, James Smith and James Dunn, they notched Seventies’ hits with such harmonious highs as I’m Stone In Love With You, You Make Me Feel Brand New, Let’s Put It All Together, Betcha By Golly Wow, Break Up To Make Up, You’ll Never Get To Heaven (If You Break My Heart) and You Are Everything.

Tickets for the October 28 to December 2 tour go on sale at 9am on Friday on 0844 888 9991 or at ticketline.co.uk. For York, yorkbarbican.co.uk; Sheffield, sheffieldcityhall.co.uk; Halifax, victoriatheatre.co.uk.

The Stylistics, the statistics

Seven Gold albums; five Gold singles; two Double Gold singles; eight Platinum albums; one Double Platinum album; four Platinum singles; Grammy nomination in 1974 for You Make Me Feel Brand New; plaque on Walk Of Fame, Center City, Philadelphia, 1994; inductees into Vocal Group Hall Of Fame, May 2004.

Robert Plant’s Saving Grace to play Grand Opera House. Tickets go on sale tomorrow

Saving Grace with Robert Plant and Suzi Dian out front on vocals

SAVING Grace, the folk-blues co-operative led by Led Zeppelin’s Robert Plant, will play the Grand Opera House, York, on April 16.

Tickets will go on sale on Friday at 9.30am at atgtickets.com/York, gigsandtours.com and ticketmaster.co.uk.

Singer and lyricist Plant, now 73, will be joined on the April and May tour by Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar), and Matt Worley (banjo, acoustic, baritone guitars, cuatro).

Premiered by Plant in February 2019 in a gig near the English-Welsh border, Saving Grace’s repertoire is “inspired by the dreamscape of the Welsh Marches”

Plant and co had been booked to headline the Platform Festival at The Old Station, Pocklington, in July 2020 until the pandemic intervened.

Saving Grace will perform further Yorkshire gigs this spring at Hull City Hall on April 14 and Halifax Victoria Theatre on April 26. Bookings can be made atgigsandtours.com and ticketmaster.co.uk.

Wolverhampton singer-songwriter Scott Matthews will be the support act. He last released an album, New Skin, in 2020, followed by his 2021 EP, Distant Flashing Light.

Meanwhile, tickets for comedian Michael McIntyre’s hastily arranged Work In Progress gig at the Grand Opera House on February 28 sold out within two hours of going on sale on Tuesday morning.

Michael McIntyre: New material on trial in York on February 28

Showtime for Anton and Erin as Strictly duo celebrate Fred, Ginger, Chaplin and Elton

Terpsichorean twirlers Anton du Beke and Erin Boag toast their return to the dancefloor in their first tour since early 2020

LONGSTANDING, long-dancing ballroom couple Anton du Beke and Erin Boag are reunited in Showtime at York Barbican tomorrow night (18/2/2022).

After a fallow 2021, when the pandemic put paid to their tour plans, the Strictly Come Dancing alumni have been on the road since January 28 this winter, playing 30 dates that will take in further shows in Yorkshire at Hull New Theatre on February 22 and 23.

“Not only 2021 was lost,” says Strictly judge Anton. “We lost shows in 2020 as well; we were into the last week of our tour, when were going to play York and then go onto Scotland, so it’s been a while since we danced together.”

Sevenoaks-born Anton, 55, and New Zealander Erin, 46, are taking to the dance floor in Showtime, a “glittering tribute to some of the world’s greatest icons of entertainment”: Fred Astaire and Ginger Rogers, Frank Sinatra, Judy Garland, Charlie Chaplin, Shirley Bassey, Tom Jones, Liza Minelli, Elton John and more besides.

Glittering tribute: Anton and Erin are ready to dazzle in Showtime

Returning to dancing after sitting down through the 2021 series of Strictly on the judging panel, Anton says: “To be honest with you. it’s been like ‘wow, I only feel like I’m 28’ because there’s a lot of experience to fall back on.

“We did a few special shows at the back end of last year, like one night in Leeds, where we were only there to do a couple of numbers, and my biggest concern was ‘would the suit still fit’. It did! Then Erin asked, ‘would you do up my zip’, and her dress fitted perfectly too.”

Erin says: “I’m fit! There aren’t many dancers at my age still going strong, but I am, though I’m not the same [dancer] as I was 20 years ago – or even two years ago. But keeping fit is the easiest part. The hardest part is the technical side, but I’ve been really looking forward to the tour as I don’t think anyone will notice that!

“Maybe adrenaline can get you through the first few shows and the presence of an audience can do that too, as well as working with people again, performing with a big orchestra. It’s all about the enjoyment of getting back to dancing again.”

“It’s all about the enjoyment of getting back to dancing again,” says Erin Boag

Six months of preparation have gone into Showtime, a show produced by Raymond Gubbay that combines the dazzle of ballroom couple Anton and Erin with “stunning costumes, fabulous live vocals, a high-energy dance ensemble and a sensational 23-piece orchestra”.

“We have a new sound company working with us, great lighting and costumes,” says Anton. “When there has been no shows, it’s been so much more than Erin and me not being able to put on a show. No shows means no frocks, no work for sound engineers. That’s why it’s important that now that shows are back, the message is clear that people can feel safe to come into a theatre.

“It’s also important that people work harder to make the experience enjoyable, with venues going the extra mile. We get that venues need to be safe, but their job is to make it enjoyable within the safety guidelines. Don’t be officious, be welcoming!”

Anton And Erin in Showtime, York Barbican, tomorrow (18/2/2022), 7.30pm; Hull New Theatre, February 22 and 23, 7.30pm. Box office: York, yorkbarbican.co.uk; Hull, hulltheatres.co.uk.

Copyright of The Press, York

Kerouac Lives near Hebden Bridge…as spotted in Heath Common’s cabaret night

Heath Common: Jack Kerouac aficionado

IN Episode 77, Two Big Egos In A Small Car podcasters Graham Chalmers and Charles Hutchinson report on the Kerouac Lives cabaret show that reappraised the work of Jack Kerouac and the Beat Generation.

Under discussion too are John Rushton, D-Day hero, RIP; Harrogate duo The Paper Waits in hushed concert; Black Country, New Road’s sophomore album, and levelling up in the arts.

To listen, head to: https://www.buzzsprout.com/1187561/10055233

REVIEW: We Will Rock You, Grand Opera House, York, until Saturday ****

We Will Rock You, pictured on an earlier tour in 2019. The 2022 show comes re-booted with a state-of-the-art design

WE Will Rock You is “intriguing, challenging, achingly romantic, brutally cynical and at once both sad and hilarious,” says the futuristic Queen “rock theatrical’s” writer-director, Ben Elton.

It is also probably the daftest musical you will ever see. Even dafter on reacquaintance than when the flamboyant show visited Leeds Grand Theatre in 2011, the year it won the Most Popular Show prize at the Olivier Awards.

Thirty years since Freddie Mercury passed away at 45 – “too beautiful, too wild,” as Elton puts in his script – Queen still rule. On press night, there was not a spare seat to be had, setting the box-office pattern for the busy week ahead.

For its 20th anniversary touring production, Elton is back at the helm as director, adding changes and updates here and there to a plot that has gone from “science fiction to science fact” and is “more relevant than ever”, in the judgement of Queen guitarist Brian May.

A pre-show Elton recorded plea to “live in the freakin’ moment” (by putting away mobile phones) and two references to Covid go down particularly well, while the renaming of Planet Earth has moved on from Planet Mall to iPlanet in the age of Internet Gaga.

Astutely, musical advisor May had suggested: “The show needs to work in a theatrical context and retain the rock, while also incorporating the spectacle, uniqueness and humour embodied by Queen.”

This prompted Elton to consider how “legendary rock music should have a legendary context” as he riffed on tales from King Arthur to The Terminator: “heroic myths in which brave individuals take on the vast monolithic force of evil systems”.

Elton’s nutty narrative is duly set in a distant, dystopian, globalised future where iPlanet’s inhabitants dress and think identically and exist in a brain-dead cyberspace haze, like the Gaga High School pupils encouraged to spend day after day on the online drip-feed.

Rock music is banned, prompting a rebellious cluster, the tartan and leather-clad Bohemians, to fight against the all-powerful Global Soft company, its pantomime-baddie boss, the Killer Queen (Jenny O’Leary) and her henchman, Khashoggi (Adam Strong), the Malvolio party-pooper of the piece.

Two school outsiders, boy dreamer Galileo Figaro (Ian McKintosh) and bad-ass girl Scaramouche (Elena Skye), want to break free from all this bleak conformity, to join the Bohemian cause to restore freedom of expression and individuality (except for the audience, who are asked to refrain from singing except when instructed).

Ben Elton: Writer-director of the hit and myth musical We Will Rock You. Picture: Trevor Leighton

We Will Rock You builds that Orwellian story around a framework of readymade hits, like the Madness musical vehicle, Our House. In other words, it applies a back-to-front process, songs first, story second, as satirical humorist Elton sticks his tongue firmly in Queen’s already saucy cheek.

Combining lampoon and harpoon, he revels in a hoary plotline that sends up Britney Spears, Lady Gaga, Sir Cliff Richard, Meat Loaf and corporate control of pop, throws in a love story and sexual innuendo, while finding endless routes/excuses to sing another of those Queen monoliths: 24 in total.

May’s fellow musical advisor, Queen drummer Roger Taylor, defines the musical as being silly, funny but making “quite a lot of serious points”. True, but Elton’s show rightly refuses to take itself seriously when making those points.

His dialogue is deliberately as clunky as a B-movie script and his knowing, debunking humour, full of in-jokes and Queen and rock-history references bounces off his characters, just as it does in Blackadder, The Young Ones and Upstart Crow.

Tim Blazdell’s set design and Stufish Entertainment Architects & Willie Williams’s  video production bring a state-of the-art pizzazz to the Queen hit parade, while also evoking the spirit of Flash Gordon and Return To The Forbidden Planet, aided by Kentaur’s costume and wig designs.

Zachary Flis’s band, up on the mezzanine level, relish the mock-operatic drama and sheer diversity of the Queen songbook, sung spectacularly by Elton’s company of colourful characters, as much in the tradition of Meat Loaf as Mercury.

No-one is afraid to throw the kitchen sink into shamelessly over-the-top performances, especially O’Leary’s belting Killer Queen and David Michael Johnson’s Brit, or to be hammy in the case of Strong’s Khashoggi.

Michael McKell’s motor-biking dude, Cliff, is the scene stealer; McIntosh’s Freddie and the dreamer combination of gorgeous voice and naivety are a joy throughout and Skye’s drop-dead goth attitude as Scaramouche is a killer.

Ultimately, silly and funny as it may be, We Will Rock You is all about those oh-so familiar songs being brought to fresh life by myriad knock-out voices, Far better to be done this way than in yet another tribute show.

P.S. Make sure to stay for the end, not the false end, to experience the fandango of a finale.

To join the ticket rush: 0844 871 7615 or at atgtickets.com/York