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NCEM director Delma Tomlin nominated for Freeman of City of York status…following in the footsteps of Dame Judi Dench

Delma Tomlin: National Centre for Early Music director

DR DELMA Tomlin MBE, founder and director of the National Centre for Early Music, has been nominated to receive the status of Honorary Freeman of the City of York. 

The decision will be made next Thursday (17/12/2020) at a special full council meeting of City of York Council, which “may lawfully appoint a person or persons who have, in its opinion, rendered eminent services to the city as outlined in Section 249 of the Local Government Act 1972”.

The meeting will consider nominations for awarding the title to both Delma, as busy as ever this week hosting the York Early Music Christmas Festival at the NCEM, and York historian Alison Sinclair. 

The last time this status was awarded was in 2014 to Lord Crathorne and, if the status is awarded next week, Delma and Alison will be following in the footsteps of the only women honoured since 2002: actor and national treasure Dame Judi Dench and Quaker, peace campaigner and long-serving head teacher of The Mount School, Joyce Pickard, who died in September 2017.

Delma’s nomination comes in recognition of her commitment to arts and culture in York over the past 40 years. She helped to secure significant funding to establish the National Centre for Early Music to deliver early music, world music, folk and jazz in the converted St Margaret’s Church building in Walmgate.

The NCEM stages the summer York Early Music Festival and its winter marrow, the York Early Music Christmas Festival, this year running a series of socially distanced concerts from December 4 to 12, complemented by the inaugural York Christmas At Home festival, streamed online from December 11 to 13. In addition, beyond York, she programmes the annual Beverley & East Riding Early Music Festival.

The NCEM is recognised internationally for its promotion of Early music, also hosting the NCEM Young Composers Award and running a vibrant education and outreach programme, working with the communities of York throughout the year.   

“I have had so much fun with all the projects I’ve been involved in and, in this rather miserable year, it’s wonderful to be offered something so joyful,” says Honorary Freeman of the City of York nominee Delma Tomlin

In 2000, Delma was awarded an honorary doctorate by the University of York in recognition of her work in the City of York. In 2008, she was appointed an MBE for services to the arts in Yorkshire in The Queen’s New Year’s Honours List.

In 2018, she was made Cultural Ambassador for the City of York and was named Cultural Champion at that year’s York Culture Awards. In 2022, she will become the first female Governor of the Company of Merchant Adventurers.

Reacting to today’s nomination, Delma said: “As someone who has lived in York for 40 years, I couldn’t be more pleased or imagine more of an honour. The city has given me such opportunities, and the people have always been extraordinarily welcoming.

“I have had so much fun with all the projects I’ve been involved in and, in this rather miserable year, it’s wonderful to be offered something so joyful.” 

Councillor Keith Aspden, leader of City of York Council, said: “Given their eminent services to our city, I am delighted to support the award of Honorary Freedom of the City of York to both Delma Tomlin and Alison Sinclair.

“York has a rich history of freemen, with records dating back to 1272, making it an honour of great historical importance rarely awarded. It has been fascinating to read the nominations for Delma and Alison and learn more about the outstanding work they have done for both the city and its residents, in particular in the fields of heritage, culture and music.

“If the nominations are approved at the council meeting, a subsequent Civic occasion would then take place later next year to recognise and formally celebrate the honour.” 

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Jordan Fox’s return to the stage as Jack is a dream true after anything but Beautiful year

“He’s just a dreamer, who wants to be up in the clouds,” says Jordan Fox of playing Jack. “I can get on board with that: I’m an actor; I can get lost in stories” Picture: Charlie Kirkpatrick

EVERYTHING should have been Beautiful for Jordan Fox in 2020.

“I was in the tour of Beautiful, the Carole King musical, at the start of the year, and then that got cancelled by the pandemic lockdown,” says the West End actor from West Yorkshire. “The tour had been such fun, but when I got back to London from Cardiff, I got the email to say ‘Don’t go to the next theatre’.”

Based in London for the past couple of years, starring in Kinky Boots and Friendsical, the Friends-parodying musical, Jordan has moved back to Yorkshire in lockdown.

Now he finds himself in the title role – Jack, not the allotment staple – in York Stage’s pantomime, Jack And The Beanstalk, from Friday at Theatre @41 Monkgate, York.

“Me and Nik [writer-director Nik Briggs] went to university together at Bretton Hall [the Grade 2 listed building on the Yorkshire Sculpture Park estate, near Wakefield]. It was like Hogwarts! I loved it!” says Jordan, who studied there from 2006 to 2009.

“I was in the first year when Nik was in the second year and we ended up doing some projects together and getting on really well.”

Now 32, Jordan says: “We’ve chatted a few times, but because he’s based in York and I’ve been in London we’ve kind of missed each other’s paths. So, it feels really lovely to be doing this panto.

“Nik messaged me and said, ‘I know you’re based in London but we’re looking for Yorkshire actors’, and I said, ‘well, I’m coming back, can I do it?’.”

Jordan was born in Bradford and grew up in Huddersfield and his family now lives in Holmfirth. “I’ve moved back home, living with my partner in Holmfirth, and if I get a West End show again, I’ll rent down there and keep the house up here,” he says.

He performed in Lawrence Batley Theatre pantomimes in Huddersfield in his childhood. “Then, in 2014-2015, I was Peter Pan in Peter Pan with Dean Gaffney as my Captain Hook, and now I’m doing Jack And The Beanstalk, so I’ve had a green theme to my pantos, it seems!”

Deep into tech week now for his role as Jack, Jordan says: “The great thing that Nik has done with the script is that he’s really massively acknowledged the present pandemic situation, with all the social distancing.

Feeling good to be back: Jordan Fox in an early rehearsal for York Stage’s Jack And The Beanstalk. Picture: Charlie Kirkpatrick

“We make lots of references: we can air-hug, play air guitar, without us breaking any rules. We’re using a traverse stage design too [with the audience seated in bubbles to either side], and we can really fill that space in a different way when, even though we can’t do traditional panto things, we can figure out new ways and it’s always nice to do that.”

Jordan is enjoying reacquainting himself with the pantomime world for a second time. “For me, there was a really big gap between doing it when I was young and then getting back into it for Peter Pan, and now it’s good to be doing it again,” he says.

“I love the simple fairy-tales, the silliness of it all, whereas normally [with musicals] you don’t ever have the free rein to do anything like that. With panto, if something goes wrong, it’s great to be able to include the audience in it.”

As for playing Jack, Jordan says: “As I’ve read him, he’s northern, probably sounding like I did before going to London! I’ll be letting my Yorkshire heritage take over.

“He’s just a dreamer, who wants to be up in the clouds. I can get on board with that: I’m an actor; I can get lost in stories! Jack is simplistic in his ideals, not weighed down by anything. Instead of the norms of adulthood, he’s still letting himself dream, which we can all connect with.”

Dreams have been put on hold in Covid-19 2020. “It was so disorientating when Beautiful stopped. A lot of actors, when we’re not working in shows, work in bars, teach kids, do gigs, basically anything where there’s a crowd, but because everything stopped, it was an anxiety-ridden couple of months,” says Jordan.

“It felt like the world falling from beneath you, but luckily I had some savings, and I started doing some ‘assisting engineering’ work, basically handing people tools.”

Then came Nik’s invitation to climb a beanstalk in a York theatre. “This is a dream come true and I’m so happy to be here,” says Jordan. “It’s been so frustrating for the theatre world this year, when it seems like the Government doesn’t make the effort to go and get someone like [theatre producer] Cameron Mackintosh to ‘tell us what we should be doing’.”

Treading the boards once more at last, Jordan says: “When you come to a show, you never leave the theatre the same person as when you arrived, and that’s what we’ve all been missing.”

Dare to dream, like Jack, like Jordan, of better times ahead. In the meantime, enjoy the uplift, the joy, the daftness, of pantomime.

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

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No Irish legends at York Barbican for months and months, then along come two…

Van Morrison: York Barbican

IRISH luminaries Van Morrison and Chris De Burgh are heading to York Barbican in 2021.

Northern Irishman Morrison, 75, will play two nights, May 25 and 26, and Southern Irishman De Burgh, 72, is booked in for October 15.

Tickets for both concerts will go on sale at 9am on Friday (11/12/2020) at yorkbarbican.co.uk, as well as at ticketline.co.uk and on 0844 888 9991 for De Burgh.

Born in Pottinger, Belfast, in 1945, Van Morrison – or Sir George Ivan Morrison OBE, as a formal envelope would now read – was inspired early in life by his shipyard worker father’s collection of blues, country and gospel records.

Feeding off Hank Williams, Jimmie Rodgers and Muddy Waters in particular, Morrison became a travelling musician at 13, performing in several bands before forming Them in 1964.

Making their name at Belfast’s Maritime Club, Them soon established Morrison as a major force in the British R&B scene, initially with Here Comes The Night and Gloria, still his staple concert-closing number.

Brown Eyed Girl and the November 1968 album Astral Weeks announced a solo song-writing spirit still going strong, as testified latterly by a burst of five albums in three years. In 2017, he released Roll With The Punches and Versatile; in 2018, You’re Driving Me Crazy, with Joey DeFrancesco, and The Prophet Speaks; last year, Three Chords & The Truth, his 41st studio set, no less.

Over the years, Morrison has accumulated a knighthood; a BRIT; an OBE; an Ivor Novello award; six Grammys; honorary doctorates from Queen’s University, Belfast, and the University of Ulster; entry into the Rock & Roll Hall of Fame and the French Ordres Des Artes Et Des Lettres…and a number 20 hit duet with Cliff Richard in 1989, Whenever God Shines His Light.

This year, Morrison has said – and sung – his two penneth on Coronavirus, “crooked facts” and “pseudo-science”. In August, he called for “fellow singers, musicians, writers, producers, promoters and others in the industry to fight with me on this. Come forward, stand up, fight the pseudo-science and speak up”.

Ironically, a quick-thinking company promptly launched a set of face masks of iconic Morrison album covers.

Chris De Burgh: New album, new musical, new tour, all on a Robin Hood theme, in 2021

From September 25, Morrison launched a series of three protest songs, one every two weeks, railing against safety measures to prevent the spread of Covid-19: Born To Be Free, As I Walked Out and No More Lockdown.

“No more lockdown / No more government overreach / No more fascist bullies / Disturbing our peace …,” he urged on the latter.

“No more taking of our freedom / And our God-given rights / Pretending it’s for our safety / When it’s really to enslave …”

Not without irony, that song condemned “celebrities telling us what we’re supposed to feel”. Issuing an explanatory statement amid condemnation from voices in Irish authority, he said: “I’m not telling people what to do or think. The government is doing a great job of that already. It’s about freedom of choice. I believe people should have the right to think for themselves.”

In September, he announced a series of socially distanced concerts, again with a covering note: “This is not a sign of compliance or acceptance of the current state of affairs,” it read. “This is to get my band up and running and out of the doldrums.”

Plenty of “re-scheduled” shows are in the diary, in London this Friday and Saturday, Belfast over the New Year celebrations, followed by four nights at the London Palladium in mid-April.

Not long afterwards comes the brace of York Barbican gig : an umpteenth return to a venue where he has performed in his predictably unpredictable, sometimes gruff, sometimes prickly, yet oft-times sublimely soulful manner on myriad mystical nights.  

Chris De Burgh – born Christopher John Davison in Venado Tuerto, Argentina and raised in County Wexford, southern Ireland – last visited York Barbican on his Classics Albums Tour in October 2019.

That night, the focus fell on 1986’s Into The Light and 2010’s Moonfleet & Other Stories. Next autumn, Chris De Burgh & Band will be undertaking the eight-date UK tour, The Legend Of Robin Hood & Other Hits, in support of the upcoming album, The Legend Of Robin Hood, whose release date is yet to be affirmed.

De Burgh has co-written a musical too, Robin Hood, to be premiered in Fulda, Germany, in 2021. Expect both new material and greatest hits, Lady In Red et al from a 45-year recording career stretching back to Spanish Train And Other Stories, when he plays the only Yorkshire concert of next October’s itinerary.

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Chapter House Choir’s Carols By Candlelight goes online on December 16

Going virtual: Chapter House Choir members assembled via home recordings for the 2020 Carols By Candlelight concert. Picture: Kat Young

THE Chapter House Choir will release an online version of its ever-popular Carols By Candlelight concert as part of York Minster’s Christmas programme.

After the Coronavirus pandemic snuffed out the usual Carols By Candlelight format, the chamber choir’s 30-minute video performance will be go live next Wednesday (16/12/2020) at 7.30pm, free to view via yorkminster.org./whats-on and on the choir’s social-media channels.

Created by choir members performing individually from home, the virtual recordings will be set against footage of York Minster’s 13th-century Chapter House in candlelight. Christmas carols both old and new will be complemented by festive music performed by the Handbell Ringers of the Chapter House Choir.

Highlights of Carols By Candlelight concerts from past years will feature too, taken from performances in 2012 under Stephen Williams and 1999 under Jane Sturmheit.

The choir’s musical director, Ben Morris, says: “Each year, people say to me that Christmas starts for them with Carols By Candlelight in York Minster’s atmospheric Chapter House. At the end of this year, which has seen so much hardship, when choirs have been silenced and singing has been so missed, we felt it was more important than ever to create a version of this special tradition, so that people far and wide could join us virtually and share in a few minutes of festive music in the run-up to Christmas.”

New footage of the York Minster Chapter House by David Rose will feature in the virtual Carols By Candlelight concert. Picture: David Rose

The film has been edited by audio and visual engineer Kat Young, at present a research associate at the University of York’s AudioLab, and includes new footage of the Chapter House by videographer and sound specialist David Rose. 

Formed in 1965 to raise funds for the York Minster Appeal, the Chapter House Choir is a progressive and dynamic ensemble that presents beautiful yet challenging programmes from the full range of the choral repertoire.

The chamber choir regularly commissions new music, such as Everyone Sang by Roderick Williams, premiered with The King’s Singers; Song Cycle: Vive la Vélorution by Alexander L’Estrange, for the Tour de France Grand Depart in Yorkshire, and Arcadia by Judith Bingham, commemorating the 100th anniversary of the start of the First World War.

New pieces by Gabriel Jackson, Bob Chilcott, Paul Mottram, Lillie Harris and the choir’s founder conductor, Andrew Carter, have been premiered too.

Coming next? Wait and see. The choir’s latest Coronavirus update, posted on its website on November 22, says: “We currently have no live concerts planned, but we look forward to returning to live performances as soon as we can.”

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REVIEW: York Early Music Christmas Festival, Illyria Consort, NCEM, York

Illyria Consort: Concert programme began and ended in Italy, travelling north to Germany in between

REVIEW: York Early Music Christmas Festival, Illyria Consort, How Brightly Shines The Morning Star, National Centre for Early Music, York, December 7

ONE of the most pleasing of the Christmas Lutheran chorales is How Brightly Shines The Morning Star. It is still in most of our hymn books.

It was actually composed by Philipp Nicolai in 1674 during an outbreak of the plague, which gives it a certain contemporary resonance. So, its inclusion in two sets of variations as the centrepiece of this Baroque recital could hardly have been more appropriate.

Illyria Consort is a trio led by violinist Bojan Čičić, who is underpinned by David Miller’s theorbo and Stephen Devine at the organ (whose advertised use of the harpsichord sadly did not materialise). They began and ended in Italy, travelling north to Germany in between.

Frescobaldi had a knack for crystallising Italian traditions and latched onto the playing of bagpipes by shepherds in the Christmas season, with a capriccio on La Pastorale (known more widely later on as Pastorella), a tradition that endures to this day in the south.

It opened peacefully here, with organ and theorbo alone, before the violin introduced some frolicking. In Germany it was picked up by Biber, a violin virtuoso himself, in his Pastorella, where frolics soon turn to fireworks. It was a delight to hear them side by side and played with such relish.

Quite a different side to Biber emerged in his Third Mystery Sonata, The Nativity, which clings doggedly to the key of B minor in its three movements, doubtless presaging the trials the Christ child was eventually to face. There was plenty of theatre here, but not much comfort.

That came with the Morning Star variations. Buxtehude’s set for solo organ gained in rhythmic coherence as it progressed, culminating in a lively jig. But the real drama came in Nicolaus Strungk’s variations for the whole trio, which was a revelation, beginning as a slow passacaglia and developing into an imaginative fantasia at a variety of tempos. The Illyrians clearly loved it.

Giovanni Stefano Carbonelli’s Sonata VIII allowed a touch of Britain into the programme. Although born in Rome, he spent over half a century in London and died there in 1773, having become a Brit as John Stephen Carbonell in 1735.

Certainly, the sonata was on a par with Handel’s best in the genre, with two central Allegros, one free flowing, the other in a zesty staccato, before an evocative closing pastorale. It came as no surprise to discover that the Illyria chose six of his sonatas for their debut recording.

Tartini is right up there as a composer for the violin, his own instrument. His Pastorale sonata also has Christmas connotations, while exploiting a number of different bowing techniques that must have sounded avant-garde in his day. Čičić by now was in full flow and obviously enjoyed its challenges.

After a majestic Adagio and a frankly showy Allegro, it wound down into another gentle pastorale. This was definitely the child in the manger rather than the angels on high. A dream ending.

Review by Martin Dreyer

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The road may be longer than planned, but The Hollies’ bus will stop at York Barbican

All roads lead The Hollies to York Barbican…eventually

THE road will be even longer for The Hollies, who should have been playing York Barbican on April 26 in this Covid-crocked year but must now wait until September 23 2021.

The Manchester veterans will be playing 18 dates on their rearranged The Road Is Long tour from September 19 to October 19, including a second Yorkshire show at Sheffield City Hall.

Two original members from the 1960s’ British Invasion days, drummer Bobby Elliott and singer, songwriter and lead guitarist Tony Hicks, will be joined by lead singer Peter Howarth, bass player Ray Stiles, keyboardist Ian Parker and rhythm guitarist Steve Lauri.

Formed in 1962, The Hollies topped the charts on both sides of the Big Pond, notching up such hits as He Ain’t Heavy, He’s My Brother, I’m Alive, Stop, Stop, Stop, Here I Go Again, Bus Stop,On A Carousel, Just One Look, Carrie-Anne, Jennifer Eccles, I Can’t Let Go, Sorry Suzanne, Long Cool Woman In A Black Dress and The Air That I Breathe. 

In 1995, The Hollies were bestowed the Ivor Novello Award for Outstanding Contribution To British Music, followed in 2010 by their induction into the American Rock & Roll Hall of Fame for their “impact on the evolution, development and perpetuation of rock & roll”.

Tickets for The Hollies’ York gig will go on sale on Friday (11/12/2020) at 10am at yorkbarbican.co.uk.

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Livvy returns home to cast her spell over York Stage’s Jack And The Beanstalk panto

Livvy Evans: Returning to her home city to wave her wand as Fairy Mary in York Stage’s Jack And The Beanstalk. Picture: Charlie Kirkpatrick

MARCH 17, London. York-born musical actress Livvy Evans is one day away from the opening of her West End role in Tina: The Tina Turner Musical at the Aldwych Theatre.

“After two weeks of tech rehearsals, we were getting ready to open, but instead we got called in to say the theatre would be closing immediately,” she recalls, now sitting in a different theatre, back in the home city she left 13 years ago, as she prepares to play Fairy Mary in York Stage’s socially distanced, Covid-secure Jack And The Beanstalk at Theatre @ 41 Monkgate, York.

Livvy went from Simply The Best to simply the worst of times, as the Coronavirus pandemic left the West End deserted for month after month. “Initially, we expected to go back after a few weeks, but at the last meeting we had with the company managers they told us ticket sales were being taken off for January and February and now, as with most shows, they’re aiming for a spring reopening,” she says. In other words, at least a year of gathering cobwebs will have passed.

In her professional career, Livvy has been “lucky enough to pretty much go from theatre job to theatre job” in such shows as Soho Cinders, Motown at the Shaftesbury Theatre and UK tours of Sister Act and Ghost: The Musical. “When I have had a time where I haven’t worked, I’ve done nannying support in special needs, and I get a lot from it; it’s much more fulfilling than working in restaurants,” she says.

“But right now there just aren’t the jobs available for actors that they might otherwise tend to do in the quiet times, such as teaching or working in bars,” she adds, on top of the blow of no furlough pay. “And we’re being asked to go back for less pay and fewer shows when we do re-start.”

Glory be that Nik Briggs came a’calling, offering Livvy the chance to join his Jack And The Beanstalk company for the panto season. “It must have been the beginning of September, and at that point it still hadn’t been confirmed that Tina wouldn’t be opening this year,” Livvy recalls.

“So, I could only say ‘hopefully’, and I’d need to get permission from the Tina company, so it all took a long time. But once we knew Tina wouldn’t be opening, I said to Nik, ‘I’d love to do it’. I’ve been a professional for many years, but since leaving for London, I’ve never done a professional show in York. Leeds, yes, Bradford, yes, but not York.”

Brought up in Huntington, Livvy moved south to train in musical theatre on a full scholarship at Arts Educational, in Chiswick, London, in 2008. “I normally only spend four or five days in York, but this year it’ll be six weeks, which will be lovely,” she says.

“I don’t think I’ve ever played Fairy before, and the only panto princess I’ve done was Jasmine in Aladdin at the Grand Opera House in 2006 with Syd Little and Michael Starke, who I then did Sister Act with. I remember he used to call me his ‘little Peking duck, his little dumpling’ in the panto!”

Livvy will be performing with York Stage for the first time. “Strangely, I never did a York Stage Musicals show when I was young, but I did a lot of the summer school youth projects with Simon Barry at the Grand Opera House, doing my first professional job in Aladdin on the back of playing Audrey in Little Shop Of Horrors,” she recalls.

“I liked being put in with the older group for York Musical Theatre Company shows, working with Paul Laidlaw and Jim Welsman – and I loved playing little Kate Mullins in the British premiere of Titanic: The Musical for that company.”

As opening night of Jack And The Beanstalk approaches fast on Friday, Livvy says:  “It’s great to be in York, especially at this time of year, back in the house I grew up in, and I’ve never been so excited to be playing the Fairy, spreading joy to everyone, although she’s a no-nonsense fairy! As everyone keeps saying, I’m going to be the talk of my niece’s playground!”

York Stage presents Jack And The Beanstalk at Theatre @41 Monkgate, York, from December 11 to January 3; show times, Monday to Saturday, 2pm and 7pm; Sundays, 1pm and 6pm; Christmas Eve, 12 noon and 5pm; New Year’s Eve, 12 noon. Box office: online only at yorkstagepanto.com. Please note, audiences will be seated in household/support bubble groupings only. 

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REVIEW: Palisander, Mischief & Merriment, York Early Music Christmas Festival

Palisander: First concerts for nine months in this Covid-blighted year

REVIEW: York Early Music Christmas Festival: Palisander, Mischief & Merriment, National Centre for Early Music, York, December 4, evening

THE latest lockdown ended just in time to allow York Early Music to open its Christmas festival before a real audience.

There were only about 30 of us, to be sure, seated at small tables in ones or twos, but what a difference over livestreaming. Best of all, it inspires the players. Palisander confessed that these two performances – there had been one in the afternoon – were their first for nine months. You would not have guessed.

The period of Advent, or preparation for Christmas, has lost much of its original intent. It was once a time of strict fasting – not a bad idea in these days of sedentary constraint – to be followed by a 12-day yuletide blowout of Mischief and Merriment, the title of this concert.

Palisander’s quartet of recorders ranged all over the Tudor and Stuart periods, with occasional sorties into traditional and modern repertory, an invigorating mix.

Recorders cover a vast rainbow of colours, from the pipsqueak garklein, barely six inches long with only three finger-holes, to the avuncular contrabass, which stands over six feet tall. The whole panoply was on display here.

Players changed instruments on the move, so that as many as ten different ones were heard in a single piece. Toes began to tap at once in dances by Susato and Arbeau, which prepared the ground for a lively quintet of English numbers, three by Antony Holborne, marked by subtle use of staccato.

Several carols were woven into the tapestry, most with tasty but idiomatic harmonies arranged by one of the group, Miriam Monaghan. They included the spring song from Piae Cantiones (1582), nowadays better known through Good King Wenceslas.

Most of the mischief and merriment in the Elizabethan court was organised by the Lord of Misrule. He would surely have selected Toby Young’s Recorder Revolution!, which was pleasingly anarchic and lots of fun. Similarly, a theatre suite, played in masks, reflected Stuart customs. All were given with enthusiasm and joie de vivre that were infectious.

I had not previously thought that an hour of nothing but recorders could be so entertaining. You live and learn.

Review by Martin Dreyer

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Getting mighty Crowded at Scarborough Open Air Theatre next summer after Kaiser Chiefs and Bryan Adams confirm dates

Kaiser Chiefs: Never missing a beat at Scarborough Open Air Theatre next July

I PREDICT a trio!

First came Crowded House’s confirmation for June 8, next, Kaiser Chiefs for July 11, and now, this new rising morning, Bryan Adams for July 1, as Scarborough Open Air Theatre announces another burst of big signings for Summer 2021.

New Zealander Neil Finn’s re-grouped Australian band Crowded House will open the British leg of their first European travels in more than a decade on the Yorkshire coast to showcase Dreamers Are Waiting, next year’s fruits of Lockdown labours: their seventh studio album but first since Intriguer in June 2010. The release date is yet to be confirmed.

Leeds lads Kaiser Chiefs promise a “no-holds-barred rock’n’roll celebration” on their much-requested return to Scarborough OAT after their May 27 2017 debut. “We cannot wait to get back to playing live shows again and it will be great to return to this stunning Yorkshire venue,” says frontman Ricky Wilson. “We had a cracking night there in 2017, so roll on July 11!”

Expect a Sunday night of such Yorkshire anthems as Oh My God, I Predict A Riot, Everyday I Love You Less And Less, Ruby, Never Miss A Beat and Hole In My Soul from the Chiefs, whose last album, 2019’s top-five entry Duck, marked their return to their original label, Polydor.

Crowded House: Always take the Scarborough weather with you next June

That summer, they played Leeds United’s stadium, Elland Road, and this summer they were booked in for another open-air headliner at Dalby Forest, near Pickering, until Covid-19 said “No”.

Scarborough OAT venue programmer Peter Taylor, of promoters Cuffe and Taylor, says: “Ever since their show here in 2017, fans have been asking for us to bring Kaiser Chiefs back to Scarborough OAT.

“We are delighted to oblige, and this is going to be another all-action rock’n’roll show that no fan will want to miss.”

Completing the new additions to Scarborough OAT’s ever-expanding 2021 diary, Canadian singer Bryan Adams will play there as part of his ten-date UK outdoor tour that will conclude at Harewood House, near Leeds, on July 10.

Adams, 61, will be making his second appearance at the Scarborough arena after his sold-out debut on August 8 2016. Once more, he will do Run To You, Cuts Like A Knife, Summer Of ’69, I Do It For You et al for you.  

Bryan Adams: Scarborough return next July after 2016 show

Programmer Taylor says: “Bryan Adams is one of the world’s best-selling artists and an international music legend. We are beyond thrilled he is returning to Scarborough Open Air Theatre next summer.

“Bryan joins an incredible line-up of headliners for 2021 and we cannot wait for the season to start!”

That list now runs to: June 8, Crowded House; June 12, Lionel Richie; June 13, The Beach Boys; June 19, UB40 featuring Ali Campbell and Astro; June 20, Ru Paul’s Drag Race: Werq The World; July 1, Bryan Adams; July 3, Snow Patrol; July 7, Duran Duran; July 9, Keane; July 10, Olly Murs; July 11, Kaiser Chiefs; July 25, Lewis Capaldi; August 17, Westlife, and August 20, Nile Rodgers & Chic.

Still more artists and dates are to be confirmed. Meanwhile, tickets for Crowded House, Kaiser Chiefs and Bryan Adams all will go on general sale at 9am on Friday, December 11 via ticketmaster.co.uk and scarboroughopenairtheatre.com.

Tickets for Adams’s Harewood House show will be available from the same time at ticketmaster.co.uk/bryan-adams-tickets/artist/734390 and aegp.uk/ba2021

Bryan Adams’s poster for his July 1 concert in Scarborough
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Crowded House hope to play to exactly that at Scarborough Open Air Theatre in 2021

Three Finns you should know: Dad Neil and sons Liam and Elroy plus the other two that make up a Crowded House line-up for 2021’s first album and European tour in a decade

DO dream it’s over! Let’s hope Crowded House can live up to their name when Neil Finn’s band play Scarborough Open Air Theatre, Britain’s biggest purpose-built outdoor concert arena, next summer as we pin hopes on the Covid vaccination in the months ahead.

Crowded House, largely the family Finn, will be undertaking their first European tour in more than ten years in 2021, heading to the Yorkshire coast on June 8 for their first UK show. Glasgow, Birmingham, Cardiff and London await.

Tickets will go on general sale via scarboroughopenairtheatre.com at 9am on Friday, December 11.

Formed in Melbourne, Australia, in 1985 by New Zealander Neil Finn, they will line up next summer with Finn, fellow founder Nick Seymour, Mitchell Froom and Finn’s sons Liam and Elroy.

Familiar favourites such as Don’t Dream It’s Over, Weather With You, Four Seasons In One Day, Distant Sun and Fall At Your Feet will be bolstered by new material. On October 15, Crowded House released their first single in a decade, Whatever You Want, accompanied by a video directed by Nina Ljeti, starring Mac DeMarco.

Fresh from Finn touring as part of the latest line-up of Fleetwood Mac, he had begun recording a new studio album in Los Angeles in January but once the Covid-19 lockdown was imposed, Finn and co switched to exchanging new songs via online files.

More fruits of those lockdown labours, the album Dreamers Are Waiting, will be released early next year. 

Scarborough OAT venue programmer Peter Taylor, of promoters Cuffe and Taylor, says: “When we learned Crowded House were touring Europe, we just knew we had to try and bring them to Scarborough OAT. This is a real coup for the venue and the Yorkshire coast.

“Crowded House are regarded as one of the most influential bands of the past 40 years and their fans are utterly devoted. This will be an incredible show.”

To view Crowded House’s single Whatever You Want, go to: https://www.youtube.com/watch?v=ZggTaHMoQYs&feature=youtu.be