Category: Music

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Kate Rusby celebrates 20 years of festive folk Carol concerts with Christmas Is Merry return to York Barbican on December 11

Christmas Is Merry for Kate Rusby: “It just seemed the perfect title for the tour that celebrates 20 years of my Christmas gigs,” she says

BARNSLEY folk nightingale Kate Rusby returns as bright as a festive robin to York Barbican on December 11 on her 20th anniversary Christmas Is Merry tour.

Kate, who turned  52 today (4/12/2025), will cherry pick from her seven winter albums, 2008’s Sweet Bells, 2011’s While Mortals Sleep, 2015’s The Frost Is All Over, 2017’s Angels And Men, 2019’s Holly Head, 2020’s Happy Holly Day (Live) and 2023’s Light Years. 

In the company of her regular band, coupled with the added warmth of “the Brass Boys”, Kate combines carols still sung in South Yorkshire pubs with her winter songs and favourite Christmas chestnuts. As ever, look out for the festive fancy dress finale and maybe her new Christmas Chill version of The Wren@20.

Here Kate discusses the magic and joy of Christmas songs past and present with CharlesHutchPress.

The 2025 tour has a new title, Christmas Is Merry. Why did you choose that one, Kate?

“We recorded a gorgeous song called Christmas Is Merry a few years ago, and it’s a favourite of ours to play live now. It just seemed the perfect title for the tour that celebrates 20 years of my Christmas gigs. We all have such a great time on the tour, we just adore it and are very, very merry and giddy throughout, so the title just fitted.”  

What will be the new elements of the latest round of Kate Rusby Christmas concerts: New set design? New additions to the set list? 

“Ooooh, absolutely new set; it’s going to be so fab! I can’t give any spoilers, but when people walk into the auditorium hopefully they’ll love it. We’re going retro is the only clue I’ll give!

Kate Rusby’s cover artwork for her 2023 Christmas album, Light Years

“As for the set list, as it’s celebrating 20 years, we’ve tried to include audience faves and our faves from over the years, which actually match up!” 

What will be the band line-up for this winter’s tour?

“Same as last year, my band of six: myself, Damien O’Kane, acoustic guitars, electric guitars and banjo; Duncan Lyall, double bass and Moog; Sam Kelly, guitars, bouzouki and vocals; Nick Cook, accordions and electric guitar, and Josh Clarke, percussion.

“Plus my fabulous brass lads: Gary Wyatt, cornet; Lee Clayson, flugelhorn horn; Robin Taylor, euphonium; Chris Howlings, French horn, and Nick Etheridge, tuba. So that’s 11 on stage in total including lil’ old me.

“It’s our biggest tour of the year, so we have more of our incredible crew, lights, set etc, all travelling round in a big truck. Every single one of them is a true gem and talented beyond belief. I’m so lucky to work with them all.” 

What are the ingredients that go into making the perfect Christmas album? The familiar, the unfamiliar, the new and the old?

“Exactly that! I like to include something for everyone! On each Christmas album I’ve made, there are songs from the South Yorkshire pub-sings, to songs more recognisable, to classics we hear every year (but Rusby-fied, of course!)

“I like to search for more quirky, funny songs that appeal to the younger generation, (Hippo For Christmas or I’m Getting Nothing For Christmas, for instance) and then I also include songs I’ve written, about the New Year bells ringing in a new start [Let The Bells Ring] or about a lost angel I imagined sitting in a tree in our snowy garden [Glorious].”

Kate Rusby in wintertime. Picture: David Angel

How come you have made so many Christmas albums, whereas Michael Buble and Kylie Minogue both keep re-releasing the same one?! 

“Ha!!! Aw, I love Michael Buble and Kylie, they’re both very cool. I see Kylie has just released a new song called XMAS. I love it. I suppose I just have way too many songs I still want to record, from the pub-sings round here and beyond. I love researching and discovering new cool Christmas songs, and I love writing them too, so there’s no way I’m done yet!”

How come there are so many versions – and variations – of While Shepherds Watched? Where do you keep finding them?

“I know them from the ‘pub-sings’ around this area of South Yorkshire, where more than 30 different versions still exist! The South Yorkshire carols are something I am truly passionate about, and the very reason I started our Christmas tour in the first place.

“The carols were lost to the rest of the country, (apart from a little pocket of Cornwall, where they have similar carols and some totally different!), so I wanted to show them off and spread them around again, and here we are 20 years later! I just love it.” 

Will it be roast turkey or goose or neither for the Rusby-O’Kane household on Christmas Day?

“Ooh, we’re going turkey this year! We did have goose for a few years but we’ve gone back to turkey. With all the trimmings of course, even down to bread sauce. Whoop!”

Do you have a favourite Christmas album in the Rusby household?

“There tends to be a LOT of singing at a Rusby family Christmas, but I love listening to Louis Armstrong’s Christmas music. It feels me with warmth and always makes me smile.” 

Banjo players Damien O’Kane and Ron Block: Teaming up for third album together, Banjovial, Kate Rusby’s pick of 2025

Which album have you enjoyed discovering this year that you would recommend giving as a Christmas present?

“I have to say one of my faves from this year is hubby Damien O’Kane’s new album Banjovial. His third album he’s recorded with fellow banjo legend Ron Block. “Ron plays with Alison Krauss; in fact he’s been her right hand banjo man for more than 30 years.

“Dee and Ron became best banjo buddies a few years ago and he’s played on my last few albums. He’s so great, as is Damien, and together they make the best, happy, uplifting, sunshine-in-a-bottle music! Fully recommended!”

Do you have recording plans for 2026?

“Yes, I have a plan! An album I’ve been wanting to record for a wee while, so I’ll be getting stuck into that when my girls [Phoebe Summer and Daisy Delia] are back to school in January. It’ll probably be released around the middle of the year I think.” 

Kate Rusby: Christmas Is Merry, York Barbican, December 11, 7pm. Box office: yorkbarbican.co.uk. Her tour visits Bradford St George’s Hall (December 5, bradford-theatres.co.uk);  London (Dec 7); Manchester (Dec 9); Llandudno (Dec 10); York (Dec 11); Gateshead (Dec 13); Sheffield City Hall (Dec 14, sheffieldcityhall.co.uk); Brighton (Dec 16); Bristol (Dec 17); Nottingham (Dec 19) and Cambridge (Dec 20.)

On a separate matter

You played Ryedale Festival this summer at the Milton Rooms, Malton, with the Singy Songy Session Band, performing latest album When They All Looked Up. What do you recall of that experience?

“AW it was so gorgeous! What a beautiful little hall, we loved it. Our girls came along as did my parents, and other friends of the family so it was just fab. The audience were really great too, and probably the smartest dressed audience I have ever had!”

 

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‘I love playing Fairy,’ says Lisa George on leaving Coronation Street after 13 years to return to theatre. Next wave of wand, Cinderella at Grand Opera House

Wanderful: Lisa George’s Fairy Godmother in UK Productions’ Cinderella at Grand Opera House, York

AFTER 13 years as “loud, gobby, feisty” Beth Sutherland in Coronation Street, Lisa George decided to leave soapland’s cobbles to tread the boards once more.

A decision she made in 2024, when her final episode aired last August, that now brings her to York to play Fairy Godmother at the Grand Opera House  in UK Productions’ Cinderella from December 6 to January 4 2026.

“The decision had been bubbling away because of my visual impairment,” says Lisa, who has the rare eye condition of NAION (non-arteritic anterior ischemic optic neuropathy), one that causes sudden and painless vision loss in up to 11 per cent of people.

“I first lost vision in the bottom half of my right eye [when Lisa had been hit in the eye by a rope] and then had a second occurrence in 2022 [in her left eye] and was formally diagnosed in 2023 after a year of searching for what was wrong.”

As chance would have it, when she partnered with Tom Naylor in Dancing On Ice in 2020, it turned out he was the son of Gerard Taylor, an eye specialist she had consulted in 2017.

“I don’t think people realise I have this eye condition because I don’t make a song and dance about it,” says Lisa George

For Lisa, who also had been diagnosed with Type 2 Diabetes in 2016, matters came to a head when she was watching a production of Romeo And Juliet at the Royal Exchange Theatre in Manchester last year.

“In a black-out during the performance, I suddenly thought about not being able to see,” she recalls. “I’d earned my stripes, I’d worked on Coronation Street for 13 years, and I thought, ‘if I’m going to go blind, I need to do theatre again now. I don’t just want to be known for Beth [Sutherland] . I’m going to play other roles before anything might happen to stop me’.

“The condition is stable; I can see, but I was petrified I would never work in theatre again after I was diagnosed, but I was also aware that I’d be able to have people hold my hand, or show the way with torches. There’s far more help nowadays.”

Cinderella is her second pantomime since leaving Coronation Street. “I don’t think people realise I have this eye condition because I don’t make a song and dance about it – though my script is massive!” she says.

Working with director Ellis Kerkhoven and choreographer Xena Gusthart for the first time, Lisa is “absolutely delighted to be appearing as Fairy Godmother at the Grand Opera House”. “Panto is such a special time of year, and I can’t wait to see families and friends come together to share in the magic over the festive season,” she says.

Lisa George in the poster for her role as Fairy Godmother in Cinderella, when she was announced as the first signing for the Grand Opera House pantomime for 2025-2026

As ever with commercial panto, rehearsals crack on apace. “We had ‘blocked’ the whole of the show by day three, and we’d had costume fittings, dance rehearsals and vocal rehearsals on top of that,” says Lisa.

“The very first pantomime I did we had only a week’s rehearsals. That one was with Jimmy Cricket, Linda Nolan, a young Suranne Jones and Paul Crone, ‘the roving reporter’ from Granada TV.  That was at the Tameside Hippodrome [in Ashton-under-Lyne, Greater Manchester], a  theatre that doesn’t exit anymore.  I was Dandini, the old-fashioned thigh-slapping Dandini in fishnet tights.

“We’re getting pushed out now, with the Prince Charming and Dandini roles going to men, on top of men already playing the dame. What’s left for the women?

“Dandini wasn’t my favourite role, to be fair. I have more fun as the fairy. I love playing Fairy, whether Petunia Pumpkin in Cinderella or Fairy Bowbells in Dick Whittington, both at the Oldham Coliseum, or Fairy Godmother last year at the Wyvern Theatre, in Swindon, or now Fairy Godmother in York, where it’s my first time working with UK Productions.”

“I’ve brought my steamer, my big straw, my Vitamin C tablets – and I’ll try to get plenty of sleep too,” says Lisa George of her routine for the pantomime season ahead

Producer Martin Dodd enthuses: “We are thrilled to welcome Lisa to the cast of Cinderella. She brings a huge amount of talent, warmth and star power to the stage, and we know that the audience will fall in love with her Fairy Godmother.”

Performing in pantomime, with the challenge of cold weather, loud audiences and multiple shows, is arguably theatre’s most demanding season, requiring care of body and voice. “It’s a tough call doing panto,” says Lisa. “I’ve got a nebuliser that someone told me to get last year, where you put on a mask to hydrate your throat.

“Then there’s a wide straw, a singing tube, that you blow bubbles with to help the voice. Opera singers use it. I learned about that last year as well, so I’ve brought my steamer, my straw, my Vitamin C tablets – and I’ll try to get plenty of sleep too.”

“Absolutely buzzing” about singing two key numbers in Cinderella, one in the transformation scene, the other in Act Two, Lisa is looking forward to her York debut. “Of all the tours I’ve done, I don’t think I’ve done York before,” she says. “It’s been brilliant; it’s a really lovely cast , everyone’s so talented. We’ve bonded already; everyone is just dead nice and supportive.”

UK Productions presents Cinderella, Grand Opera House, York, December 6 to January 4 2026. For tickets, go to atgtickets.com/york.

Actress Lisa George

Lisa George on her years of treading Coronation Street cobbles, 1997 to 2024

“I left in July 2024, and my last scene on screen was on August 24, after 13 years of playing [former model] Beth Sutherland, married to Kirk Sutherland [in 2015]. She was loud, she was gobby, she was feisty; a very proper lioness, protecting her son, loyal – and I think she was really funny too.

“She was a loudmouth, a hybrid of Ivy Tilsley and Janice Battersby, and I loved playing her. Those 13 years just flew by.

“I’d done Coronation Street before, playing three guest roles, and originally I was asked to do episodes as Beth. But then the producer asked me back for a trial six months, then for afull year that turned into three years, then another three years, and so on and son on! Because they didn’t have someone gobby in the factory anymore, that’s why they kept her.

“I first played a nurse in 1997 in a scene with Martin Platt, Gail’s husband. Then I was a family liaison officer for five episodes when Katy Harris, played by Lucy-Jo Hudson, killed her dad with a wrench.

“I filmed my part as a police officer when Ashley and Claire Peacock’s son was kidnapped, but those scenes were never shown after the disappearance of Madeleine McCann [in May 2007].”

Lisa George in her latest role as Fairy Godmother in UK Productions’ Cinderella at Grand Opera House, York, from December 6 to January 4 2026

Lisa George: back story

BORN on October 15 1970 in Grimsby.

Best known for playing factory worker and former model Beth Sutherland in Coronation Street from 2011 to 2024.

In 2020, Lisa skated her way to fifth place, partnering Tom Naylor, on Dancing On Ice; in 2022, she  appeared as Cabaret’s Sally Bowles in ITV’s All Star Musicals; in 2022 and 2023, she performed with fellow Corrie cast members on Britain Get Singing.

Lisa read theatre studies at Royal Welsh College of Music and Drama, Cardiff, where she won singing scholarship for three years running.

Since graduating in 1995, her credits include UK tour of Prisoner Cell Block H – The Musical, touring with Lily Savage; Dusty Springfield tribute show I Only Want To Be With You; Cinderella, with Jimmy Cricket;  Daydream Believer, for M6 Theatre Company, and Life On Mars, at Riverside Studios, London.

Further shows were: The Queens Of Country, playing Tammy Wynette;  One For The Road, playing Pauline Cain for The Torch Theatre, and producing, directing and appearing in An Evening with Kander and Ebb. Also undertook six-month run in UK tour of musical comedy Girls Night in 2010.

In pantomime, Lisa has appeared as Fairy Bowbells in Dick Whittington (Oldham Coliseum), Petunia Pumpkin in Cinderella (Oldham Coliseum) and Dandini in Cinderella (Tameside Hippodrome).

Television roles include: Emmerdale; Casualty; Holby City; City Central; Cops; Roger Roger; My Summer With Des; Coronation Street (see above); Oliver’s Travels; Manhunt; Children’s Ward and Holding The Baby.

Commercials include: Ebay, Learn Direct, KFC, Claims Direct and White Lightening Cider. The “controversial singing KFC commercial” has become infamous for receiving the most ever complaints. Radio: The Handmaiden’s Tale, BBC Radio 4, and Pick Ups.

Lisa appeared alongside Michelle Collins in BAFTA-nominated television adaptation of Jacqueline Wilson’s The Illustrated Mum, playing the role of Miss Hill.

Lisa recorded backing vocals with The Stranglers on their 1998 album Coup de Grace (Eagle Records). From 2001, she toured with 13-piece soul band The Rumble Band for four years before jumping ship to join the mighty rocking big band orchestra, The Cat Pack, recording It Ain’t What You Do, an album of jazz, jump blues, rock’n’roll and swing classics and originals in 2006. Also performed with Sheffield jump jive band The Big Heat for two years.

After supporting Little Richard and Chuck Berry with The Cat Pack in 2005, Lisa was asked to record her solo album, The Devil Said Shake, for Raucous Records as Lisa George and The Pedalos.

Lisa appeared as a guest singer in Rave On, the Buddy Holly show;  travelled the country as support act to Peter Grant and toured as backing vocalist for Joe Longthorne on his 2007/2008  You And Me tour and 2009 40th Celebration Tour.

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Film documentary of the week: Still Pushing Pineapples (12A), City Screen Picturehouse, York, December 7, 5pm, with Q&A session

Dene Michael’s bobble head on his dashboard in Still Pushing Pineapples

For Charles Hutchinson and Graham Chalmers‘ interview with Dene Michael and Kim Hopkins for the Two Big Egos In A Small Car podcast, visit: https://www.buzzsprout.com/1187561/episodes/18266909

IN a 2003 poll conducted by Q magazine, a panel of music writers voted Black Lace party anthem Agadoo as the worst song of all time. “Magnificently dreadful,” was the verdict.

What happens when you are forever associated with such a derided hit;  what comes after fleeting fame, and what does it mean to grow old still chasing a dream?

Former member Dene Michael, originally from  the Bradford suburb of Tong, is still singing the Yorkshire band’s 1984 number two – kept off top spot by George Michael’s Careless Whisper – across clubland UK. A story now told in Yorkshire filmmaker Kim Hopkins’s documentary Still Pushing Pineapples, her “elegy for a lost time, a lost culture, a lost Britain”, as the Telegraph deemed it.

On tour from November 28, Hopkins’s humorous, moving, warts’n’all 123-minute film for TullStories and her film company Labour Of Love will play City Screen Picturehouse on Sunday, when Hopkins, Dene Michael and producer Margareta Szabo will hold a post-screening Q&A.

Dene Michael and girlfriend Hayley, sporting her Dene tattoo, in Still Pushing Pineapples

Still Pushing Pineapples, a title taken from Agadoo’s shall-we-say-banal lyrics, is Selby-raised Hopkins’s follow-up to her award-wining portrait of a Bradford film club, A Bunch Of Amateurs, part one of a trilogy to be completed next year.

In her frank and fearless piece of affectionate social realism, Hopkins’s camera follows “former pop star” Dene Michael over two and half years as he clings to the remnants of fame he once had as a member of 1980s’ novelty pop group Black Lace, a band he joined after Alan Barton and Colin Gibb (or Routh as he was first known) had their biggest hit with Agadoo, “the high or low point of any party”.

Now, performing for a dwindling, ageing audience in some of the UK’s most deprived seaside towns and cities, Dene is keen to press on with his music career and free himself from the legacy of the Black Lace songbook to “do something a bit more credible and clever”. A decision enhanced by the management jettisoning him and his Hawaiian wardrobe for a younger Black Lace (featuring Phil Temple and 2008 Britain’s Got Talent contestant Craig Harper since 2023).

Who needs a 1980s’ throwback in a loud pineapple shirt and oversized red specs, singing a tired earworm? Apparently, many do (doo doo). Hence Still Pushing Pineapples traces the path of Dene, his spirited 89-year-old mum Anne and his sassy new girlfriend Hayley (freshly inked Dene tattoo on her arm et al) on their travels across Britain and to Benidorm in a pineapple-decorated camper van.

The poster for TullStories and Labor Of Love Films’ documentary Still Pushing Pineapples

Outwardly, they may look like three unlikely amigos to share such a trip, but those travels are suffused with love, humour and no little drama in Hopkins’s Yorkshire variation on Jonathan Dayton and Valerie Faris’s 2006 tragicomic American road movie Little Miss Sunshine.

En route, they navigate love, family duty and the relentless pursuit of one last chart success, as entertainment, working-class culture, human connection and the power of pop align in this idiosyncratic documentary that opened this year’s Sheffield DocFest and received a special preview screening at Bradford’s Pictureville cinema on November 14 as part of Bradford 2025 UK City of Culture. 

Kim Hopkins describes herself as a “working-class, queer British filmmaker” and is one of the most distinctive voices in contemporary UK documentary film-making.  A highly skilled self-shooting director, she brings a distinctive visual world and deep intimacy to her films. 

She is a graduate of the National Film and Television School and co-founder of Labor Of Love Films with Margareta Szabo, producer of A Bunch Of Amateurs and Still Pushing Pineapples.

Yorkshire documentary filmmaker Kim Hopkins, Selby-educated director of Still Pushing Pineapples

“Still Pushing Pineapples is the second film in a trilogy I’m making about working-class communities, self-expression, the power of solidarity and escapism,” says Kim. “When Black Lace exploded onto Top Of The Pops with their Agadoo hit in the 1980’s I, like many, dismissed it as a junk novelty song. But every summer since, on every beach holiday, Agadoo has proved inescapable.

“Returning to my Yorkshire roots later in life, I’ve come to understand the power of escapist popular culture.  Working-class people need to escape.  I decided to ask my family what they thought about me making a film, this time about Black Lace and Agadoo?

“They approved of the idea. Nostalgia gleamed in their eyes. Alexa lit up with party tunes of yesteryear. They wanted to know the whole Black Lace story. Who were they, where did they end up, would it be ‘real’?”

Still Pushing Pineapples, City Screen Picturehouse, York, Sunday, December 7, 5pm. Box office: picturehouses.com/cinema/city-screen-picturehouse. To view the trailer, go to: https://www.youtube.com/watch?v=xZFfsJmGMQU.

Dene Michael dressed as a pineapple for the finale to Still Pushing Pineapples

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Concert announcement of the week: Michael Ball, Glow UK Tour, York Barbican, September 12 2026

Michael Ball’s poster for his Glow UK Tour 2026, when he will play Yorkshire shows at Bradford Live, Sheffield City Hall, Hull Connexin Live and York Barbican

MUSICAL star and radio and TV presenter Michael Ball will promote his 23rd solo album, Glow, on next year’s 25-date tour.

“There’s probably only one thing I enjoy more than being in the studio – writing, producing and singing songs with people I love – and that’s taking it all out on the road and performing those songs, as well as all the old favourites to the audiences I love,” he says.

“I hope you enjoy the new album, and I hope you come to see us on tour next year. It’s going to be an exciting year, and I can’t wait to see you all.’’ Tickets go on general sale on Friday at 9am at https://www.yorkbarbican.co.uk/whats-on/michael-ball-2026/.

Featuring original material, Glow will be released “early next year” and will be available via the Michael Ball store at https://michaelball.tmstor.es/. Fans can pre-purchase the album now to gain exclusive tour access, starting today at 9am.

Ball will be on the road from August 26 to October 2 2026 on his Glow UK Tour, whose itinerary takes in  further Yorkshire concerts at Bradford Live on September 3, Sheffield City Hall, September 5, and Hull Connexin Live, September 6. Box office: livenation.co.uk; gigsandtours.com or michaelball.co.uk.

Michael Ball: back story

BORN in Bromsgrove on June 27 1962, Great Britain’s “leading musical theatre star” is a double Olivier Award-winning, Grammy-nominated, multi-platinum recording artist and radio and televison presenter.

For more than 40 year, he has starred in West End and Broadway musical theatre productions, winning critical acclaim, a devoted following and awards for his stage work and recording career.

His theatre credits include Edna Turnblad in Hairspray (ENO/Coliseum); Javert in Les Misérables – The Staged Concert (Gielgud Theatre & UK/Australia Arena Tour); Anatoly in Chess (ENO/Coliseum); Mack in Mack And Mabel (Chichester/UK Tour), and Sweeney Todd in Sweeney Todd and The Demon Barber Of Fleet Street (West End), winning Olivier Award for Best Actor in a Musical.

Further credits include Edna Turnblad in Hairspray (Original West End cast),  winning Olivier Award for Best Actor in a Musical; Kismet (English National Opera); Patience (New York City Opera); The Woman In White (West End/Broadway); Chitty Chitty Bang Bang (West End); Passion, The Phantom Of The Opera, Aspects of Love (West End/Broadway), and creating the role of Marius in Les Misérables (Original West End cast).

TV credits include the Victoria Wood BBC TV film, That Day We Sang, opposite his Sweeney Todd co-star, Imelda Staunton.

He presents his own show on BBC Radio 2 on Sundays. On TV, he has hosted The Michael Ball Show on ITV1, his first TV travelogue, Wonderful Wales on Channel 5 and an Easter Sunday special for the BBC.

Tours UK regularly as a concert artist, selling millions of albums over the past 40 years, as well as performing in Australia, China, USA and Japan. In 2007, he made his BBC Proms debut in An Evening With Michael Ball at Royal Albert Hall, London, marking the first time a musical theatre star had been given a solo concert at the Proms.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 51, from Gazette & Herald

Deep in conversation: Snow goes underground in A Winter Wonderland at JORVIK Viking Centre

A SNOWY reboot, festive trail, treasured exhibition and pantomime launches spell out that winter staples aplenty are up and running, as Charles Hutchinson reports.  

Time travel of the week: A Winter Adventure at JORVIK Viking Centre, York, until February 22 2026

A WINTER Adventure brings a new wintery experience to the underground York visitor attraction, where the 10th century Vikings are preparing to celebrate Yule with natural decorations hung on their houses. For the first time, visitors can peer through Bright White’s time portal into the blacksmith’s house excavated on this site in the 1970s.

They will then board a time sleigh to travel back in time around the backstreets, transformed for winter by Wetherby set dressers EPH Creative, who have covered streets and houses in a thick blanket of snow, bathed in cold blue lighting. Pre-booking is essential for all visits to JORVIK at jorvikvikingcentre.co.uk.

Christmas at The Bar Convent in York. Illustration by Nick Ellwood

Activity trail of the week: Christmas At The Convent, The Bar Convent Living Heritage Centre, Blossom Street, York, until December 22, Monday to Saturday, 10am to 5pm, last admission 4pm

DECEMBER visitors to The Bar Convent can uncover fascinating festive traditions through the centuries in a family-friendly activity trail through the exhibition that combines the convent’s history with the Advent season.

Families can enjoy finding clues, making decorations, dressing up, discovering traditions from Christmas past and much more. Look out for the traditional crib scene in the chapel. Tickets: barconvent.co.uk.

Garlands galore at An Inspired Christmas at Treasurer’s House, York. Picture: National Trust, Anthony Chappel-Ross

Festive exhibition of the week: An Inspired Christmas at Fairfax House, York, until December 21, open Saturday to Wednesday, 11am to 4pm, last entry 3.30pm

TREASURER’S House has undergone a winter transformation, where stories of its past residents come to life through handcrafted decoration as rooms are re-imagined by the National Trust with festive flair, inspired by the 17th-century house’s rich history.

Each room is styled to reflect the personalities and tales of those who once called Treasurer’s House home, from last occupant Frank Green, the visionary industrialist who gifted the property to the National Trust, to the Young family, Jane Squire, Ann Eliza Morritt, Elizabeth Montague, Sarah Scott, John Goodricke and Royal visitor Queen Alexandra. No booking is required, with free entry for National Trust members and under-fives.

The Jeremiahs: Irish folk band play York for the first time on December 3. Picture: Tony Gavin

York debut craic of the week: The Jeremiahs, National Centre for Early Music, York, December 3, 7.30pm

IRISH band The Jeremiahs have travelled extensively, including playing 26 states in the USA, performing rousing new songs and tunes in the folk genre, peppered with picks from the trad folk catalogue. Lead vocalist and occasional whistle player Joe Gibney, from County Dublin, is joined by his fellow founder,  Dublin guitarist James Ryan, New York-born fiddler Matt Mancuso and County Clare flautist Conor Crimmins. Box office: 01904 658338 or ncem.co.uk.

Malton White Star Band: Performing Brass and Voices At Christmas at Milton Rooms, Malton

Ryedale festive concert of the week: Brass and Voices At Christmas with Malton White Star Band, Milton Rooms, Malton, tomorrow, 7pm

MALTON White Star Band and Community Training Band team up with singers from Norton Primary School for the 2025 edition of Brass and Voices at Christmas. Doors open at 6.30pm. Tickets are on sale at https://donate.givetap.co.uk/f/malton-white-star-band/christmas-concert-2025 or by ringing Dave Creigh on 07766 237947.

The one and only Jesca Hoop: Playing NCEM in York tomorrow

Singer-songwriter of the week: Brudenell Presents and Please Please You present Jesca Hoop, National Centre for Early Music, York, December 4, 7.30pm

DISCOVERED by Tom Waits, invited on tour by Peter Gabriel and encouraged to relocate to the UK by Elbow’s Guy Garvey, Jesca Hoop left California for Manchester to carve out a singular path across six albums of original material. Collaborations with producers John Parish (PJ Harvey), Blake Mills (Feist), and Tony Berg (Phoebe Bridgers) have only sharpened the intricacy of her craft. Box office: thecrescentyork.com/events/jesca-hoop-at-the-ncem-york/.

Ryedale Christmas children’s show of the week: Esmerelda The Elf And Father Christmas, Milton Rooms, Malton, Saturday, 12 noon, 2pm and 3.30pm; Sunday, 10.30am, 12 noon, 2pm and 3.30pm

WHO thought it was a good idea to put Elf friend Esmeralda in charge of Christmas sweeties? Can you help her to have everything ready in time? Will any goodies be left by the time Christmas Day arrives?

Each family has its own space to sit in at this interactive show and can visit Father Christmas individually at the end. All children will receive a gift. Box office: 01653 696240 or themiltonrooms.com.

Bec Silk’s Robin Hood and writer Martin Vander Weyer’s Dame Daphne in 1812 Theatre Company’s pantomime Robin Hood’s Helmsley Adventure

Ryedale pantomime opening of the week: 1812 Theatre Company in Robin Hood’s Helmsley Adventure, Helmsley Arts Centre, Saturday, 2.30pm and 7.30pm; Sunday, 2.30pm; December 9 to 12, 7.30pm; December 13, 2.30pm and 7.30pm; December 14, 2.30pm

HELMSLEY Arts Centre artistic director Natasha Jones directs company-in-residence 1812 Theatre Company in this traditional panto with a Knock Knock Joke Contest, scripted by Martin Vander Weyer.

Robin Hood will be rescuing the lovely Maid Marian from the wicked Sheriff of Pickering, while Black Swan landlady Dame Daphne will lead the merriment and mayhem. Knock Knock! Who’s there? Daphne! Daphne who? Daph-nitely book early to avoid disappointment on 01439 771700 or at helmsleyarts.co.uk.  

Hannah King’s Peter Pan in Rowntree Players’ The Pantomime Adventures Of Peter Pan at Joseph Rowntree Theatre, York

Putting ‘Pan’ into pantomime: Rowntree Players in The Pantomime Adventures Of Peter Pan, Joseph Rowntree Theatre, York, Saturday, 2pm and 7.30pm, Sunday, 2pm and 6pm; December 9 to 12, 7.30pm; December 13, 2pm and 7.30pm

JOIN Wendy, John and Michael as they fly with Peter Pan to the fantastical world of Neverland in Howard Ella and Gemma McDonald’s pantomime for Rowntree Players. Cling on to your seats as Peter and the Lost Boys do battle with Jamie McKeller’s rather nasty Captain Hook and his even nastier bunch of pirates. Fear not as Nanny McFlea and her ever eager apprentice Barkly are on hand to assist in the most ridiculous of ways. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Michael Ball: Glowing at York Barbican next September

Concert announcement of the week: Michael Ball, Glow UK Tour, York Barbican, September 12 2026

MUSICAL star and radio presenter Michael Ball will promote his 23rd solo album, Glow, on next year’s 25-date tour. “There’s probably only one thing I enjoy more than being in the studio – writing, producing and singing songs with people I love – and that’s taking it all out on the road and performing those songs as well as all the old favourites to the audiences I love,” he says.

“It’s going to be an exciting year, and I can’t wait to see you all.’’ Tickets go on sale on Friday at 9am at https://www.yorkbarbican.co.uk/whats-on/michael-ball-2026/.

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Irish craic of the week: The Jeremiahs’ debut at National Centre for Early Music, York, December 3, 7.30pm

The Jeremiahs, fronted by Joe Gibney. Picture: Tony Gavin

IRISH folk band The Jeremiahs make their York debut tomorrow night at the National Centre of Early Music on the second night of a six-date tour.

“We’ve played the Swaledale Festival in North Yorkshire, but this will be our first time in York,” says singer and occasional whistle player Joe Gibney, whose tour is supported by Culture Ireland.

“We’re putting a route together around the UK, where we’ve played a lot, and lovely York came out second on our list, so we’re playing there on the second night.” Newcastle tonight, Cardiff, on Thursday, Crediton in Devon on Friday, Chidham on Saturday, and Woodbridge on Sunday complete the travels.  

Joining Joe on that intense itinerary will be fellow founder James Ryan, from County Kildare, on guitar, New York-born Mat Mancuso, on fiddle and vocals, and Conor Crimmins, from County Clare, on flute.

“The Jeremiahs were formed by James and myself in 2013 and we had two French lads playing with us, one for seven and a half years in fact, but they were settling down and wanted to do less travelling. Mat joined two and a half years ago,” says Joe. “Though he’s from New York, he lives in Armagh, and people on the Irish music circuit recommended to us. It’s worked out well for us.”

The Jeremiahs are a band regularly on the move. “We’ve travelled a lot, playing Denmark, Germany and the USA, where we go three or four times a year, like playing upstate where you can play two or three gigs within two or three hours of each other,” says Joe.

“We must have played 26 states in The USA so far. Everybody wants to be Irish, and when you trace back, there are a lot of Irish roots there. It’s great to keep going across the Pond. There might be some jetlag, but I’m not complaining!”

Looking ahead tomorrow’s set list for an early-December gig, Joe says: “We might put a couple of Christmas songs in there, a couple of nice Christmas Carols, without changing the set too much. The lads might try to get me to wear a Santa hat, but I might put my foot down.”

The set will feature predominantly The Jeremiahs’ own material but with a nod to tradition too. “We like to write our own songs and tunes, but we’re mindful that there’s so much good stuff out there that we usually pick songs that we like too – and the audiences agree with our choices!” says Joe.

“The last Jeremiahs’ album [Misery Hill & Other Stories] came out in 2023 with nine originals and one cover version on it, so it’s usually 80 per cent originals and 20 per cent covers in the shows. We also like to do 60 per cent songs to 40 per cent tunes, so there are a good few instrumentals in there, as there are thousands and thousands of traditional tunes around.

“It’s a chance for me to step off stage and let the lads do what they like to do, and you can see the joy they get from that, as I sit at the side of the stage watching them.”

Should you wondering why they are called The Jeremiahs, here is Joe’s explanation. “When we started back in 2013, we didn’t have a name, so we temporarily chose The Jeremiahs, as James’s grandfather was called Jeremiah,” he says. “At the time, we had long beards, so people thought we must be Amish, but we’ve stuck with it and people seem to like our ‘temporary’ name for 12 years now!”

Putting Joe on the spot as to why Irish music is so popular across the globe, he says: “It’s hard to say why. People have tried to put their finger on it. I think there’s a simplicity to it that’s not taking away from the technicality, but it’s so catchy, like all those melodies in the songs of The Dubliners. Sometimes it’s just nice to have that melody there.

“There are 70 million Irish passport holders across the wold, and with that Irish diaspora, you can imagine the impact that has had on bringing Irish music to all corners. There’s even a Japanese band called Pinch Of Snuff who come to Ireland to play trad Irish music – and they look good too!”

The Jeremiahs play National Centre for Early Music, St Margaret’s Church, Walmgate, York, on December 3 at 7.30pm. Box office: 01904 658338 or ncem.co.uk.

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REVIEW: Paul Rhodes’s verdict on Ellie Gowers, with Gary Stewart, Rise@Bluebird Bakery, Acomb, York, November 30

Ellie Gowers at Rise: “Brightening even the most colourless winter evenings”. All pictures: Paul Rhodes

LIKE sundew on her beloved Dartmoor, Ellie Gowers’ music can brighten even the most colourless winter evenings.

Gowers is a regular in York (she was last here as one of the Magpies at the NCEM on November 1). This time around she had found time for glider ducking at Sutton Bank and, before that, a recording session with this evening’s opener Gary Stewart.

Hearing Stewart sing is always a treat, his light Scottish burr and mellow finger-picking guitar beaming directly from that halcyon 1970s’ era of singer-songwriters.

Gary Stewart: Opening November 30’s gig at Rise

It wasn’t his finest hour, in truth, but even in ruffled form there were gems. Use It Or Lose It (recorded that very day with Gowers) was the best of them, somehow combining Paul Simon wisdom with a love of Hornsea mugs. Nothing, sadly, from his wonderful lockdown creation, Lost, Now Found.

As a performer and impresario, Gowers’ confidence on stage has come on apace. She was totally in control of her surroundings, very comfortable talking and tuning (while not standing on her tiptoes). The 50-minute, eight-song set was just right for showcasing her new EP You, The Passenger before the rapt crowd.

Ellie Gowers defending the right to roam in The Stars Are Ours at Rise

The EP takes a different direction from her full album, Dwelling By The Weir’s set of folk songs from her native Warwickshire. No cuts from that; instead, we found Gowers in singer-songwriter mode.

While using Joni Mitchell as a comparison is normally far-fetched, there were echoes of the Canadian’s For The Roses album. It’s a personal record (not Blue personal), in part inspired by her visits to Nova Scotia. A Moment was a more muscular performance, while I Can Be Right For You was beautifully sung and plaintive.

The brightest moment in the set was her anthem to defend the right to roam, The Stars Are Ours, a stellar clarion call for freedom, which sees Gowers transcend her influences. Definitely a name to watch as her star ascends.

Review by Paul Rhodes

The Magpies’ Ellie Gowers performing solo at Rise@Bluebird Bakery

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More Things To Do in York and beyond as snow blanket covers JORVIK. Here’s Hutch’s List No. 51, from The York Press

The deep freeze: Snow goes underground in A Winter Wonderland at JORVIK Viking Centre

A FESTIVE trail, treasured exhibition and snow reboot, pantomime and A Christmas Carol spell out that winter staples aplenty are up and running, as Charles Hutchinson reports.  

Time travel of the week: A Winter Adventure at JORVIK Viking Centre, York, until February 22 2026

A WINTER Adventure brings a new wintery experience to the underground York visitor attraction, where the 10th century Vikings are preparing to celebrate Yule with natural decorations hung on their houses. For the first time, visitors can peer through Bright White’s time portal into the blacksmith’s house excavated on this site in the 1970s, seeing what it would have been like to live there.

They will then board a time sleigh to travel back in time around the backstreets, transformed for winter by Wetherby set dressers EPH Creative, who have covered streets and houses in a thick blanket of snow, bathed in cold blue lighting. Pre-booking is essential for all visits to JORVIK at jorvikvikingcentre.co.uk.

Christmas at The Bar Convent. Illustration by Nick Ellwood

Activity trail of the week: Christmas At The Convent, The Bar Convent Living Heritage Centre, Blossom Street, York, until December 22, Monday to Saturday, 10am to 5pm, last admission 4pm

DECEMBER visitors to The Bar Convent can uncover fascinating festive traditions through the centuries in a family-friendly activity trail through the exhibition that combines the convent’s history with the Advent season.

Families can enjoy finding clues, making decorations, dressing up, discovering traditions from Christmas past and much more. Look out for the traditional crib scene in the chapel. Tickets: barconvent.co.uk.

Garlands galore at An Inspired Christmas at Treasurer’s House, York. Picture: National Trust, Anthony Chappel-Ross

Festive exhibition of the week: An Inspired Christmas at Fairfax House, York, until December 21, open Saturday to Wednesday, 11am to 4pm, last entry 3.30pm

TREASURER’S House has undergone a winter transformation, where stories of its past residents come to life through handcrafted decoration as rooms are re-imagined by the National Trust with festive flair, inspired by the 17th-century house’s rich history.

Each room is styled to reflect the personalities and tales of those who once called Treasurer’s House home, from last occupant Frank Green, the visionary industrialist who gifted the property to the National Trust, to the Young family, Jane Squire, Ann Eliza Morritt, Elizabeth Montague, Sarah Scott, John Goodricke and Royal visitor Queen Alexandra, wife to King Edward VII. No booking is required, with free entry for National Trust members and under-fives.

Guy Masterson’s Ebenezer Scrooge in A Christmas Carol, on tour at Theatre@41, Monkgate, York

Festive ghostly return of the week: Guy Masterson in A Christmas Carol, Theatre@41, Monkgate, York, today, 2pm 7.30pm

HEADING back to Theatre@41 for the fourth time, Olivier Award winner Guy Masterson presents Charles Dickens’s Christmas fable anew, bringing multiple characters to vivid life as ever, from Scrooge and Marley to the Cratchits and the Ghosts of Christmas Past, Present and Yet To Come. 

Be dazzled, be enchanted by a performance destined to linger long in the memory. “It’s guaranteed to get you into the Christmas Spirit – in many  more ways than one,” says Masters. Box office: tickets.41monkgate.co.uk.

Ellie Gowers: Songs exploring distance, longing and identity at Rise@Bluebird Bakery

Ecological songs of the week: Ellie Gowers, Rise@Bluebird Bakery, Acomb, York, Sunday, 8pm, doors 7.30pm

WARWICKSHIRE singer-songwriter – and Morris dancer to boot – Ellie Gowers blends contemporary acoustic sounds with the storytelling traditions of folk. Her 2022 debut album Dwelling By The Weir addressed ecological themes and her 2024 EP You The Passenger received airplay on Mark Radcliffe and Stuart Maconie’s BBC 6Music show.

Her influences range from Mipso to Jeff Buckley is songs that explore distance, longing and identity. An extended version of the EP arrives this autumn 2025. Easingwold singer-songwriter Gary Stewart supports. Box office: bluebirdbakery.co.uk/rise.

St Agnes Fountain: Promoting new Christmas album Flakes & Flurries at NCEM, York

Folk gig of the week: Black Swan Folk Club presents St Agnes Fountain, National Centre for Early Music, York, December 1, 7.30pm

AFFECTIONATELY known as “the Aggies”, Chris While, Julie Matthews and Chris Leslie bring their Christmas cheer to the NCEM, presenting carols with a curve. They celebrate 25 years together with material from new festive album Flakes & Flurries (Fat Cat Records), old Aggie classics and a doff of the fedora to founder member David Hughes, who died in 2021. Box office: 01904 658338 or ncem.co.uk.

Name of the dame: Robin Simpson will be playing Nurse Nellie in Sleeping Beauty at York Theatre Royal

Pantomime opening of the week: Sleeping Beauty, York Theatre Royal, December 2 to January 4 2026

THEATRE Royal creative director Juliet Forster directs returnee dame Robin Simpson’s Nurse Nellie, Jocasta Almgill’s Carabosse, Tommy Carmichael’s Jangles, CBeebies star Jennie Dale’s Fairy Moonbeam, Aoife Kenny’s Aurora and Harrogate actor Christian Mortimer’s Prince Michael in Sleeping Beauty.

Written once more by Paul Hendy, the Theatre Royal’s festive extravaganza is co-produced with award-winning Evolution Productions, the same team behind All New Adventures Of Peter Pan, Jack And The Beanstalk and last winter’s Aladdin. Box office: 01904 623568 or yorktheatreroyal.co.uk. 

Mark Thomas in Ed Edwards’s play Ordinary Decent Criminal at York Theatre Royal Studio. Picture: Pamela Raith Photography

Recommended but sold out already: Paines Plough presents Mark Thomas in Ordinary Decent Criminal, York Theatre Royal Studio, December 2 and 3, 7.30pm

MEET recovering addict Frankie, played by political comedian Mark Thomas in his second acting role for playwright Ed Edwards after England & Son in 2023. In Ordinary Decent Criminal’s tale of freedom, revolution and messy love, Frankie has been sentenced to three and a half years in jail for dealing drugs. 

On his arrival, none of his fellow convicts are what they seem, but with his typewriter, activist soul and sore lack of a right hook, he somehow finds his way into their troubled hearts, and they into his. In the most unexpected of places, Frankie discovers that the revolution is not dead, only sleeping. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

The Jeremiahs: Irish folk band play York for the first time on December 3. Picture: Tony Gavin

York debut craic of the week: The Jeremiahs, National Centre for Early Music, York, December 3, 7.30pm

IRISH band The Jeremiahs have travelled extensively, including playing 26 states in the USA, performing rousing new songs and tunes in the folk genre, peppered with picks from the trad folk catalogue. Lead vocalist and occasional whistle player Joe Gibney, from County Dublin, is joined by his fellow founder,  Dublin guitarist James Ryan, New York-born fiddler Matt Mancuso and County Clare flautist Conor Crimmins. Box office: 01904 658338 or ncem.co.uk.

The one and only Jesca Hoop: Playing NCEM on December 4

Singer-songwriter of the week: Brudenell Presents and Please Please You present Jesca Hoop, National Centre for Early Music, York, December 4, 7.30pm

DISCOVERED by Tom Waits, invited on tour by Peter Gabriel and encouraged to relocate to the UK by Elbow’s Guy Garvey, Jesca Hoop left California for Manchester to carve out a singular path across six albums of original material. Collaborations with producers John Parish (PJ Harvey), Blake Mills (Feist), and Tony Berg (Phoebe Bridgers) have only sharpened the intricacy of her craft.

Now she has released Selective Memory, an unplugged reworking of 2017’s Memories Are Now, recorded live at home with bandmates Chloe Foy and Rachel Rimmer for Last Laugh Records. Box office: thecrescentyork.com/events/jesca-hoop-at-the-ncem-york/.

In Focus: York Mystery Plays Supporters Trust in A Nativity For York, on tour, November 29 to December 10

A Nativity For York director Paul Toy

YORK Mystery Plays Supporters Trust is touring A Nativity For York to Acomb, Fulford, Nether Poppleton and All Saints Church, North Street, bringing the Christmas story to York neighbourhoods from November 29 to December 10.

Directed by Paul Toy, this new and unique interpretation of the Nativity dramatises events surrounding the birth of Jesus Christ from the York Cycle of Mystery Plays, presented by a community cast and production team with music in candlelight.

Using medieval scripts from the York Cycle of Mystery Plays and music both medieval and folk in style, A Nativity For York “tells a familiar story of a marvellous birth, threaded with humour, reverence and, sadly, hatred”.

The candlelight emphasises the constant struggle of the light against the darkness in Toy’s production, set in a time of threat when a homeless couple and their newborn baby are driven from home by oppressors.  

“My vision is that of an underground, secret activity; clandestine performances of a play promoting banned religious doctrine in a time of oppression,” he says. “It mirrors both history and our current world situation, but it’s also a time of great hope.”

The York Mystery Plays were written in medieval times: 48 plays, once performed in the streets by the city’s Guilds, telling the Biblical story from Creation to Judgement Day, including the life of Jesus Christ.  

York Mystery Plays Supporters Trust is a registered charity whose group of volunteers aims to keep the story of the York Mystery Plays alive at the forefront of York’s cultural heritage.

Performances will take place at St Hilda’s Church, Tang Hall Lane, York, on November 29 at 1pm and 4pm; St Mary Bishophill Junior, York, December 2 and 4, 7.30pm; St Mary’s Church, The Village, Haxby, December 6, 1pm and 4pm, and All Saints Church, North Street, York, December 10, 7.30pm

Tickets are on sale at https://ympst.co.uk/nativitytickets or on 0333 666 3366. The performance lasts 60 minutes with no interval. Festive refreshments will be available.

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REVIEW: Martin Dreyer’s verdict on University Symphony Orchestra, Sir Jack Lyons Concert Hall, University of York, November 22

University Symphony Orchestra conductor John Stringer

WE are apt to forget that York has three full-size symphony orchestras: York Guildhall Orchestra and York Symphony Orchestra, of course, but also the university’s own orchestra, culled from throughout the campus. All are worthy of our attention.

The University Symphony Orchestra (USO) reminded us of its quality with this appearance under its regular conductor John Stringer.

It involved four northern European composers: Denmark’s Poul Ruders, Estonia’s Arvo Pärt and Finland’s Sibelius, before dipping southwards for Belgium’s Franck.

The Ruders was a UK premiere, despite being written as long ago as 1994: The Return Of The Light, music to accompany a ten-minute film on the Christmas gospel. It began with amorphous dissonance, until a drumbeat emerged and high strings evoked a chilly night.

Figments of a chorale floated into view and for the first time the announced sampled sounds on tape began to clarify, delivering watery sounds. Finally, woodwinds launched into a return of the chorale. One suspects this work is more successful as soundtrack than as a concert piece.

Pärt’s Greater Antiphons for strings is equally seasonal, based on the church’s Advent antiphons, or ‘O antiphons’ as they are known (since each of the seven – preludes to the Magnificat – opens with the exclamation ‘O’). They are brief but distinctive, if similar in general atmosphere to the Ruders.

After a gently rocking ‘O Adonai’, there was a bolder line in ‘O Root Of Jesse’ and some urgency in ‘O Key Of David’. ‘O Emmanuel’ was well worked, its major-chord lullaby becoming a fanfare before fading out.

Uncertain horns fuzzied the start of the Intermezzo in Sibelius’s Karelia Suite, although it firmed up when the string tremolos appeared. The Ballade was distinguished by fine string tutti and a sturdy cor anglais solo. The blending of the march’s two themes made a resplendent finish.

The lingering lethargy at the start of Franck’s Symphony in D minor was immediately dispelled by a vivid Allegro. Here was plenty of evidence, if any were needed, of what a fine body of violins the university boasts at the moment, always persuasive. They would also have been more shapely had contrasts been more marked, since in this relatively small hall everything tends to sound loud unless rigorously controlled.

Franck himself characterised the second half of the Allegretto as a scherzo, which makes the movement almost a scherzo and trio, but in reverse. The melancholy chromaticism of the opening was affecting but it was the violins’ pianissimo in the alleged scherzo that was absolutely magical.

The main theme in the finale needed more bite from the cellos who were a touch lightweight all evening. Not so the reply in the brass, who were in the forefront as the themes from earlier movements were recollected, resulting in an enormous climax as we reached a triumphant D major.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Octandre Ensemble, Of Frogs and Fish, Shadows and Schubert, Sir Jack Lyons Concert Hall, University of York, 26/11/2025

Octandre Ensemble

OCTANDRE is a piano quintet, with a double bass replacing the second violin. Think, in other words, of the instrumentation in Schubert’s ‘Trout’ quintet – which ended the programme here.

Before it, we heard works by Nicola LeFanu, her late husband David Lumsdaine and Christian Mason, who happens to be a co-artistic director of Octandre.

But before a note had been played, we were treated to an excerpt from Lumsdaine’s Soundscape 4: Butcher Birds Of Spirey Creek, a dawn chorus recorded in the Warrumbungles, a mountain range in his native New South Wales. Without risking a description, we can say that this remarkable bird has tonal instincts.

Next up was Mason’s Shadowy Fish (2020), which he subtitles ‘Hommage à Schubert’, although its title originates in a Pablo Neruda poem. In three sections, with the outer two labelled “mysterious” amongst other epithets, it is clearly a very personal reaction to the poetry of Schubert’s setting (actually by Christian Schubart), but without obvious relevance to the composer himself.

A viola interlude interrupts the angular motifs that jostle for attention at the start, and there is a viola solo near the close, which may mean that the instrument represents the trout. The plaintive slitherings in the middle – “slow, with a heavy heart” – against sforzando chords in the piano, might have been the fisherman’s moment of truth and the spaced high chords at the close offered the possibility of lament. But one struggled to detect much in the way of water, a mystery indeed.

Much more decisive because more vivid was LeFanu’s briefer Night Song With Frogs, originally a cimbalom solo, dating from 2004. With the strings now accompanied by harpsichord, the original score formed the basis of an improvisation, accompanied by an edited Lumsdaine tape of frogs on the Darling River.

Paradoxically, this sounded quite structured, with the strings flitting like insects around the frogs: motifs like little jigs, sometimes pizzicato, sometimes rapidly bowed, intrigued the ear and came close to blending with the tape, even elaborating upon it.

Lumsdaine’s solo cello piece Blue Upon Blue (1991) continued the theme of dawn and dark, since its title comes from a Buddhist poem about distant hills under evening clouds. The work is almost a duet: against an unpretentious though lyrical melody there is accompaniment of pizzicato and glissandos.

These come into the foreground along with rapid tremolos as the melody fades. It made a tricky combination, but was deftly handled by Corentin Chassard.

It cannot have been easy for the players, switching from the contemporary to the classical in Schubert’s ‘Trout’ quintet. Perhaps for that reason, this was not a particularly Viennese account, but also partly because the pianist, Joseph Houston, dominated most of the textures, more or less rigidly adhering to his own view of the score. There was little sense that he was responding to his colleagues.

Most of the melodic lines in the piano, although competently drawn, were a touch more forceful than would have been ideal for balance.

That said, there were compensating joys. After an edgy scherzo, the trio, taken at a more leisurely pace, was pleasingly smooth. The ‘trout’ theme itself was played without vibrato, a cute move, and the variations upon it strongly varied. Overall, the work would have benefited from a more relaxed approach that reflected Schubert’s own light-heartedness.

Review by Martin Dreyer