COULD this annus miraculum have gone any better for Shed Seven, the year when the York band topped the album charts for the first time, all of 30 years since releasing Change Giver.
Getting even better? It just did, last night, in the first of two 30th anniversary homecoming gigs mounted by Leeds promoters Futuresound in the first rock concerts to be staged in York Museum Gardens since Hawkwind, Pink Fairies and Roxy Music in the long-gone 1970s.
Back where the Sheds’ Rick Witter and Paul Banks had “caused chaos” at 12, 13, 14, their loud ghetto blasters “disturbing all the OAPs”.
The music was rather louder last night, cheered on by 4,000 fans, young, Sheds-aged and quite possibly OAPS alike; myriad Shed Seven T-shirts, from their Bile Beans yellow variation to Bully Boy’s I’ll Fight You Till The Death flipside being the dress code for the hottest weather of this sodden summer so far. Annus miraculum? Even Zeus the weather god was smiling on the Sheds.
Peter Doherty: Name-checking York in Albion in acoustic solo setat York Museum Gardens. Picture: David Harrison
After sets by Serotones (son Duke Witter’s band) and Lottery Winners, enter Peter Doherty, a very unrock’n’roll six minutes early, to play charmingly solo and acoustic in dapper chapeau, name-checking York in Albion, the first song he wrote at 16, inspired to pick up a guitar by the Sheds. “I’m sweating like a Leeds fan in a spelling test,” he said in the night’s best one-liner, nevertheless keeping his suit buttoned up.
Performances in York Museum Gardens, notably the York Mystery Plays, have favoured utilising the St Mary’s Abbey backdrop, but Futuresound have broken with tradition, building a stage on the Yorkshire Museum concourse, looking down to the River Ouse, for Jack Savoretti’s Thursday opener and the Sheds’ back-to-back home fixtures.
A good decision, the abbey ruins still playing their supporting role, lit in resplendent blue as the night sky painted its picture. Witter couldn’t resist addressing those gathered on the far riverside, watching for free (always a Yorkshireman’s favourite price, as the saying goes).
A poem, uncredited alas, floated on the night air, as evocative as the smell of chocolate wafting across the city in capturing the essence of York and its characters, cobbles and quirks, to herald the arrival of the Sheds, not the Britpop veterans of lazy labelling, but a vibrant, propulsive, lippy indie band at the height of their second wave.
Let’s Go: Shed Seven’s Paul Banks and Rick Witterin homecoming union on Friday night. Picture: David Harrison
In Witter’s words, they have been reinvigorated by the arrival of new members Rob ‘Maxi’ Mansfield on drums and Tim Wells on guitar & keys. Last night marked their York debut. No fuss, low key at the back, rock solid as a Championship centre-half, and solidly rock.
The adrenaline rush of Let’s Go, as purposeful a title as the Sheds have ever written, opened the show, just as it does A Matter Of Time, whose name is emblazoned on a stage otherwise devoid of frills (no screens, no projections, plenty of northern lights).
The accusation was always that the Sheds were a meat-and-potatoes band, but that is to ignore the quality of the gravy. The way their songs connect, the pride in wearing the T-shirt, the Made In York but mad for the world brio. You’d rather be in this crowd than with the in-crowd.
If you could put together the wish-list Shed Seven-in-heaven gig, this was surely it: the weather, the historic York setting; the special guests, Reverend And The Makers’ Laura McClure, Rowetta and Doherty; the spot-on set list; Duke duetting with Rick on High Hopes; the Yorkshire brass players; She Left Me On Friday, hitting harder on a Friday night; the balance of A Matter Of Time songs and the orchestral overhaul of the upcoming Liquid Gold hits album.
More? How about the Huntington School Choir in their stubby tie uniforms for schoolyard anthem Bully Boy, Going For Gold segueing into a cover of Elvis’s Suspicious Minds and the perfect encore quartet of Room In My House; Throwaways, Witter arm in arm with Doherty; Disco Down with Rowetta in a Happy Mondays vibe, and everyone, choir, support acts, et al on the stage apron for Chasing Rainbows.
Why, there was even a marriage proposal, from Nicki Sullivan to Kevin, orchestrated by Witter as master of ceremonies. Kevin said yes, of course he did. Going for gold in a year when everything the Sheds do has done exactly that.
Crack open a can of Homecoming Hazy Session IPA, Brew York’s 30th anniversary Shed Seven fruity citrus beer, then reconvene tonight for more Shed heaven. Let’s Go Dancing, York, you, me and Peter Doherty. The t-t-t-Talk Of The Town.
Set list
Let’s Go; Speakeasy; She Left Me On Friday; High Hopes (with Duke Witter); Dolphin; Devil In Your Shoes; Tripping With You (with Laura McClure); People Will Talk; Bully Boy (with Huntington School Choir); Ocean Pie; Heroes; In Ecstasy (with Rowetta); On Standby; Going For Gold; Suspicious Minds; Talk Of The Town; Getting Better; Let’s Go Dancing.
Encore: Room In My House; Throwaways (with Peter Doherty); Disco Down (with Rowetta); Chasing Rainbow (with choir, special guests and support acts).
Futuresound presents Shed Seven, York Museum Gardens, tonight (20/7/2024); gates open at 5pm. SOLD OUT.
Running order: Apollo Junction, 5.45pm to 6.15pm; Brooke Combe, 6.35pm to 7.05pm; Peter Doherty, 7.25pm to 8.10pm; Shed Seven, 8.40pm to 10.30pm.
The queue forming in the Friday afternoon sun for Live At York Museum Gardens Danielle and Gareth, from Hull, enjoying Shed Seven’s set at York Museum Gardens Duke Witter leading Serotones on Friday evening at York Museum Gardens. Picture: David Harrison The Lottery Winners’ bassist, Katie Lloyd, at Futuresound’s Live At York Museum Gardens Thom Rylance, frontman of Leigh band The Lottery Winners, in full voice on Friday. Picture: David Harrison York singer Jess Steel, front, centre, enjoying Live At York Museum Gardens. Pictire: David HarrisonPeter Doherty and his dapper chapeau at York Mueum Gardens: Picture: David Harrison Shed Seven singer Rick Witter and bassist Tom Gladwin Shed Seven drummer Rob ‘Maxi’ Maxfield making his debut York appearance with the band on Friday night. Picture: David Harrison Making a mark: A Shed Seven tattoo at Friday’s concert. Picture: David Harrison
Digging deeper: What was the poem that heralded Shed Seven’s arrival on stage
“It’s called ‘The Boys Are Coming Home’,” says Matt Abbott, Wakefield poet, educator, activist and former frontman and lyricist of Skint & Demoralised. “Paul Banks, from the band, commissioned me to write a poem for a York-based homeless charity, Arc Light, back in 2014.
“That was actually my first-ever commission. This was through his production company Digifish. So, I was over the moon when he contacted me to write it.
“Initially, this was only meant to be for the social media announcement, so, it was brilliant to see that they also used it for the shows.”
Shed Seven: 30th anniversary homecoming celebrations continue at York Museum Gardens this evening
OPEN air concerts by Shed Seven, Kaiser Chiefs, S Club and James are the sound of summer as West Side Story and The 39 Steps turn up the heat too in Charles Hutchinson’s picks for the week ahead.
York festival of the week: Futuresound presents Live At York Museum Gardens, Shed Seven, this evening; gates open at 5pm
SHED Seven play the second of their sold-out 30th anniversary homecoming concerts tonight, promising a different set list to Friday’s show, special guests and a choir from Huntington School, Rick Witter and Paul Banks’s old schoolyard.
The Sheds will be on stage from 8.40pm to 10.30pm. Support slots go to Apollo Junction, 5.45pm to 6.15pm; Brooke Combe, 6.35pm to 7.05pm, and The Libertines’ Peter Doherty, 7.25pm to 8.10pm. Sugababes’ festival-closing concert on Sunday was cancelled in April.
Gary Louris: The Jayhawks’ singer, guitarist and songwriter plays solo at The Crescent, York, tonight
American solo act of the week: Gary Louris, of The Jayhawks, supported by Dave Fiddler, The Crescent, York, tonight, 7.30pm
OVER three decades, vocalist, guitarist and songwriter Gary Louris has co-led Minneapolis country rock supremos The Jayhawks with Mark Olson, as well as being a member of alt.rock supergroup Golden Smog, forming Au Pair with North Carolina artist Django Haskins in 2015 and releasing two solo albums, 2008’s Vagabonds and 2021’s Jump For Joy.
He has recorded with acts as diverse as The Black Crowes, Counting Crows, Uncle Tupelo, Lucinda Williams, Roger McGuinn, Maria McKee, Tift Merritt and The Wallflowers too. As an alternative to the sold-out Sheds on Saturday, look no further than this American rock luminary. Box office: thecrescentyork.com.
The Unthanks: Sisters Rachel and Becky perform in an 11-piece line-up at Milton Rooms, Malton
Folk gig of the week: Ryedale Festival, The Unthanks, Milton Rooms, Malton, July 23, 7.30pm to 9.30pm
THE Unthanks bring the rich colours of their 11-piece ensemble to the Ryedale Festival. Blending traditional music from their native North East with the influence of Miles Davis, Steve Reich, Sufjan Stevens, King Crimson and Tom Waits, they stand as the most innovative English folk band in modern history.
Join sisters Rachel and Becky as they display an approach to storytelling that makes easy bedfellows of social commentary and sophisticated harmony, cool minimalism and moving empathy, tradition and adventure. Tickets update: for returns only, contact ryedalefestival.com/event/42-the-unthanks.
Putting it in black and white: from top, Finlay Butler, Kristian Barley, Kit Stroud, Rebecca Butler and Maia Beatrice in NETheatre York’s West Side Story
Musical of the week: NE Theatre York in West Side Story, Joseph Rowntree Theatre, York, July 24 to 27, 7.30pm and 2.30pm Saturday matinee
EXPERIENCE the explosive love and rivalry in 1950s’ New York City in Bernstein & Sondheim’s musical re-telling of Shakespeare’s Romeo and Juliet. As romance blossoms between teens from opposing gangs The Sharks and The Jets, the relationship is fated to end in tragedy, spoiler alert. Steve Tearle’s production for NE Theatre York will feature a black-and-white design. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
One of Anna Matyus’s works from her exhibition at Helmsley Arts Centre
Exhibition of the week: Anna Matyus, Helmsley Arts Centre, until August 9
ANNA Matyus’s work explores the powerful spiritual resonance of historical sacred buildings and their setting in the landscape. Using etching and collagraph printmaking techniques and a colourful palette, she seeks to bring to life the powerful geometry of the often-faded motifs and time- worn patterns and symbols of historic artefacts found in the masonry and ancient tiles of these sacred sites.
“My final prints explore and record the dynamic rhythms of three-dimensional architectural form, layered with their decorative and symbolic adornment in a graphic expression of awe and wonder,” she says.
Safeena Ladha, left, Eugene McCoy, Tom Byrne and Maddie Rice in a scene from The 39 Steps, back on tour at the Grand Opera House, York. Picture: Mark Senior
Comedy play of the week: The 39 Steps, Grand Opera House, York, July 23 to July 27, 7.30pm and 2.30pm Wednesday and Saturday matinees
PATRICK Barlow’s award-garlanded stage adaptation of The 39 Steps has four actors playing 139 roles between them in 100 dashing minutes as they seek to re-create Alfred Hitchcock’s 1935 spy thriller while staying true to John Buchan’s 1915 book.
Tom Byrne – Falklands War-era Prince Andrew in The Crown – plays on-the-run handsome hero Richard Hannay, complete with stiff upper-lip, British gung-ho and pencil moustache as he encounters dastardly murders, double-crossing secret agents and devastatingly beautiful women. Box office: atgtickets.com/york.
James: Playing Scarborough Open Air Theatre for the fourth time next Friday. Picture: Paul Dixon
Coastal gig of the week: James, Scarborough Open Air Theatre, July 26, gates 6pm
JAMES follow up Scarborough appearances in 2015, 2018 and 2021 by continuing that three-year cycle in 2024, on the heels of releasing the chart-topping Yummy, their 18th studio album, in April.
“I’m very pleased that we will be playing Scarborough Open Air Theatre this summer – our fourth time in fact,” says bassist and founder member Jim Glennie. “If you haven’t been there before, then make sure you come. It’s a cracking venue and you can even have a paddle in the sea before the show!” Support acts will be Reverend And The Makers, from Sheffield, and Nottingham indie rock trio Girlband!. Box office: scarboroughopenairtheatre.com/james.
Kaiser Chiefs: A night at the races in York. Picture: Cal McIntyre
Under starter’s orders: York Racecourse Music Showcase Weekend, Knavesmire, York, Kaiser Chiefs, July 26, 8.45pm to 10.30pm, and S Club, July 27, 5.45pm to 7.30pm
LEEDS indie rock band Kaiser Chiefs, who mounted the exhibition When All Is Quiet at York Art Gallery in 2018-2019, return to York next Friday when the emphasis will be on I Predict A Riot, not Quiet. Expect Oh My God, Everyday I Love You Less And Less, Ruby et al, plus songs from this year’s Easy Eighth Album, after the evening race card.
Next Saturday afternoon’s racing will be followed by British pop favourites S Club, these days featuring Tina Barrett, Jon Lee, Bradley McIntosh, Jo O’Meara and Rachel Stevens. Here come S Club Party, Never Had A Dream Come True, Bring It All Back, Reach, Don’t Stop Movin’, Have You Ever, Two In A Million, Say Goodbye, You’re My Number One, Love Ain’t Gonna Wait For You and more besides. Raceday tickets: yorkracecourse.co.uk.
Ayres Extemporae: Picked by reviewer Steve Crowther and the judges alike for the first prize in the York Early Music International Young Artists Competition
THIS seriously prestigious biennial competition at the National Centre for Early Music showcased an outstanding concert of “emerging talent in the world of music”. Although having just quoted from the informative programme, the eight ensembles seemed pretty much “emerged” to my ears.
The first to perform were Trio Altizans (The Netherlands): Eriko Nagayama, violin; Antonio Pellegrino, violoncello; Agata Sorotokin, fortepiano.
THEIR programme, entitled Geister Medley, opened with the Largo Assai Ed Espressivo from Beethoven’s Piano Trio no. 5 in D major, op. 70 no. 1. The Trio captured the spooky, impressionistic tone of the movement. The work is nicknamed ‘the Ghost Trio’ (a response by Carl Czerny to this eerie middle movement).
Trio Altazans: “Performance was focused, lively and the knitting together of different themes worked well”
The performance reminded me how Gothic the music is – creepy bass tremolos in the piano etc. The fragmentary motifs, harmonies that had an instability – quite modern stuff really, but they made a convincing narrative throughout.
From Beethoven to Schubert and the last movement Allegro moderato from the great Piano Trio no. 2 in E flat major, D. 929. I thought the performance was focused, lively and the knitting together of different themes worked well, as did the closing triumphant ending. Not sure of the “early music” label here but I enjoyed it none the less.
Ensemble Bastion, from Switzerland
Ensemble Bastion (Switzerland): Maruša Brezavšček, recorder; Martin Jantzen, viola da gamba; Elias Conrad, theorbo; Mélanie Flores, harpsichord.
NOW this programme, entitled Les Goûts Réunis: The United Musical Tastes “takes its name from a collection of suites by François Couperin, reflecting the high-Baroque period’s rivalry between the musical centres of Italy and France” (programme note).
The programme opened with François Couperins Échos from his Concerts Royaux. I was impressed by the stylish ornamentation and the instinctive engagement between the players. The echoes, or echo effects, were charming.
Ensemble Bastion: “Stylish ornamentation and the instinctive engagement between the players”
Arcangelo Corelli’s Sonata IV in F major, op. 5 was originally ornament-free until composer Johan Helmich Roman (among others) had his say. This was indeed ornament-rich and a joy to listen to.
They closed with Georg Philipp Telemann’s Sonata a Flute Dolce, Dessus de Viole e Basse. This was joy too, the slow movement so gently teased out. But it was the clear canonic dialogue throughout that stayed with me.
[hanse]Pfeyfferey, from Germany. Picture: Vasilisa Gorbacheva
[hanse]Pfeyfferey (Germany): Laura Dümpelmann, shawms; Lilli Pätzold, cornetto; Alexandra Mikheeva, slide trumpet, trombone; Emily Saville, trombone.
WHO could object to an early music programme entitled: Party Like It’s 1524. Their programme note didn’t start promisingly: “In addition to our unwavering commitment to authentically merge musical practice with associated musicology and theory…”
But it perked up with “…we draw inspiration from the timeless human need to enjoy good company, food, drink and music”. Amen to that.
[hanse]Pfeyfferey: “Performers radiated energy playing the music”
I had never heard of the composer Ludwig Senfl so I did a bit of Google listening. I thought the conservative sacred music was quietly impressive, but it was the secular, humanist songs that we were treated to here.
These were full of life and the performers radiated energy playing the music. So too the Improvisations. The performances so seductive, so infectious and, in the case of Isaac’s Lala Höhö and Zwischen Berg Und Tiefe Tal genuinely touching.
P.S. Ludwig Senfl studied with the great Heinrich Isaac and lost a toe in a hunting exercise. Now there’s one for the pub quiz.
Apollo’s Cabinet
Apollo’s Cabinet (UK): Teresa Wrann, recorder; Thomas Pickering, harpsichord, traverso, recorder; David Lopez Ibanez, violin; Harry Buckoke, viola da gamba; Jonatan Bougt, theorbo, Baroque guitar; Daniel Watt, percussion.
THIS programme was entitled Musical Wanderlust: Charles Burney’s European Travels In Pursuit Of Harmony. Mercifully this concert was far more enjoyable than the turgid description would have had us believe. It was an attractive musical travelogue around pre-Brexit Europe through the eyes, ok the diaries, of Charles Burney.
Apollo’s Cabinet: “Attractive musical travelogue around pre-Brexit Europe”
I absolutely loved the whole set. It reminded me a little of Red Priest, who might just have been an influence. This was revisiting Vivaldi, Buxtehude and the holiest of spiritual grails, Bach’s Goldberg Variations, from another perspective; a completely bonkers one.
Of the four prizes on offer this early music band must surely be a contender for one of them. “The most fun-filled, brilliantly whacky prize goes to…”
A PROGRAMME entitled Warblings Of Paradise didn’t seem terribly inviting. Thankfully we had a note of explanation: “In Dante’s Paradise, music is the supreme joy of mankind. The pieces we are going to perform have both sacred and secular aspects and will give full rein to the sounds of heavenly instruments; harps, lutes, vielles and voice will alternate and blend to celebrate the harmony of souls.”
THE recital opened with Guiraut Riquier’s Aisi Com Es Sobronrada (from Chansonnier Provençal – La Vallière). This is intended to be a “declaration of love made to the Virgin”. And yet…tenor Matthieu Romanens was himself seductively serenaded by Aliénor Wolteche (medieval fiddle) and Mélina Perlein-Féliers (medieval harp) without, as far as I could see, much resistance. Mr Romanens has a lovely rich tenor voice with a particularly resonant lower register, which is rare.
Rubens Rosa: “A touching intimacy and a velvety richness in colour”
Following Rubens Rosa’s very engaging rustic dance, Estampie, we were back to Hail Mary, full of grace. There was a touching intimacy and a velvety richness in colour. Very enjoyable.
As indeed was Robert Morton’s instrumental N’aray Je Jamais Mieux Que J’ai, where the introduction of the viola d’arco (Elizabeth Summers) really enriched the tonal palette. Then back to Matthieu Romanens’ tenor voice in a dignified Fortuna Desperate (Anonymous). If you closed your eyes, his voice sounded more like a baritone than a tenor.
Their recital closed with a foot-tapping, rustic Laudato Sia Dio (Dindirindin). The call and response, the energy and rhythmic hemiola shifts (think Bernstein’s America) recharged the soul. Maybe.
Pseudonym, from Switzerland. Picture: Vivianne Caragea
Pseudonym (Switzerland): Liane Sadler Baroque, traverso; Maya Webne-Behrman, violin; Stephen Moran, viola da gamba; Gabriel Smallwood, harpsichord.
PROGRAMME entitled Broken Colours. The notes describe this theme as: “To showcase the wide range of colours and sonic possibilities of this instrumentation, Broken Colours draws on various collections from different composers published throughout the first decades of the seventeenth century. Together they represent a cohesive survey of the prevailing instrumental genres and compositional hallmarks of the time…”
The recital opened with Dario Castello’s Nona Sonata à Tre (from Sonate Concertate In Stil Moderno, Libro Primo, 1621). To be honest I know very little about Dario Castello’s music but what I have heard I liked immensely. As the description “moderno” suggests, his music is progressive, exploring “new formal structures and means of expression” (programme note). I think this freshness did come across; the performance was tight, stylish and full of energy.
Pseudonym: “An infectious, foot-tapping pleasure”
Other Baroque pioneer composers also featured in the recital. I thought the ensemble’s performance of Tarquinio Merula’s Ballo Detto Eccardo was extremely expressive and gave Liane Sadler (traverse flute) an opportunity to shine. Which she did. Biagio Marini’s La Foscarina, Sonata a 3, Con Il Tremolo was pretty amazing too. The players really caught the inventive, expressive nature of Marini’s writing, this time giving violinist Maya Webne-Behrman an opportunity to shine, and she duly did.
The recital closed with Andrea Falconieri’s rhythmically driven Ciaconna And Pseudonym clearly enjoyed playing it as much as we did listening to it. An infectious, foot-tapping pleasure. What a way to sign off.
Ayres Extemporae standing outside St Margaret’s Church, the home of the National Centre for Early Music
UP to this point, I had forgotten that this was a competition. That was until Ayres Extemporae walked on to the stage and opened their recital with an X-rated, blistering account of Heinrich Ignaz Biber’s Sonata for violin and continuo in E minor, C.142.
Xenia Gogu Mensenin’s violin playing – technically brilliant, musically utterly hypnotic and completely fearless – immediately demanded attention. To be sure, there was some respite to be had in the beautiful Aria but this couldn’t last and didn’t; Ms Mensenin got her second wind, the violin bursting free of the constraints of the song, then regained the narrative of “torment” and headed for the finish line with indecent haste.
This was beyond ‘redemption’, nevertheless this remarkable Trio gave it their best shot with Johann Sebastian Bach’s Erbarme Dich from Ich Armer Mensch ich Sündenknecht, BWV 55 (arr. for violoncello piccolo, violin and continuo).
This wonderful aria is (obviously) from the St Matthew Passion. Erbarme Dich (Have Mercy) represents Peter’s weeping and distress at having denied knowing Jesus three times. Here the violoncello piccolo ‘sings’ the tenor aria.
Ayres Extemporae: “Performance was so moving and soul searching”
The performance by Víctor García García was very persuasive: meditative, expressive and genuinely moving. Whether it was persuasive enough, however, was to be found along the “path to forgiveness”. Once again, the Trio turned to Bach, this time the Sonata for Viola da Gamba and Harpsichord in G major, BWV1027 (arr. for violoncello piccolo, violin and continuo).
In this version, “the cello piccolo takes the role of the viola da gamba, and the violin and the cello play respectively the right and left hand of the harpsichord part” (programme note).
The E minor Andante had a haunting quality. The violoncello (Teresa Madeira) gracefully weaving through the arpeggiated progressions. The performance was so moving and soul searching. The final Allegro moderato was a dance, a bourrée and fugal.
Thus, giving all three of these outstanding performers the chance to show how well they intuitively understood and communicated this music. A real joy and, to quote Tina Turner, Simply The Best?
Before I typed this review, I thought I knew who the winner might be. I just wished I had behaved like a true, blue-rinsed politician and popped out to place a bet before the coronation.
Friedrichs Nebelmeer Ensemble, from Switzerland
Friedrichs Nebelmeer Ensemble (Switzerland): Pablo Gigosos, flute; Mei Kamikawa, oboe; Claudia Reyes, clarinet; Andrés Sanchez, horn; Angel Alvarez, bassoon.
HAVING lived and breathed contemporary music for most of my adult life, I am not a great fan of the 20th-century Wind Quintet repertoire (Birtwistle and the tedious Schoenberg works spring to mind, and back out again). But this Baroque repertoire of Franz Danzi, Giuseppe Cambini and Anton Reicha played by the charmingly enthusiastic Friedrichs Nebelmeer Ensemble was just delightful.
We were told to “expect some fun after a seven-hour concert’”, and we did. The problem is, however, that zippy exchanges – the musical flair in, for example, the Finale: Allegretto of Reicha’s Wind Quintet in E flat major, op. 88 no. 2 – can mask the technical brilliance.
This closing movement is an energetic rondo and all of the performers embraced the solos on offer. I loved the intimacy of the sound the Ensemble generated.
The Larghetto Sostenuto Ma Con Moto from Giuseppe Cambini’s Wind Quintet no. 2 in D minor was so sweetly sung; it’s not often you hear a wind quintet blending as beautifully as this. Again, so intimate but this time with a velvety sensuous colouring.
Their recital actually opened with Franz Danzi’s Allegrettos no’s I and IV from his Wind Quintet in G minor, op. 56 no. 2, a work dedicated to Anton Reicha. Crisp staccato playing, perfect handovers of the musical motifs, lovely clear balance; and yes, it radiated enjoyment.
I do have critical observations and suggestions – not all the performances were uniform, at times not all the balance was quite as democratic as it might have been, and there were a few slips.
Glittering performance: [hanse]Pfeyffereyplaying at the NCEM
But given the quality of these Young Artists and the fact that they had two days of “informal recitals” with completely different programmes and in the company of Steven Devine, then discretion and humility are surely the order of the day.
But I will say that the programme notes, although informative and indeed often insightful, veered towards the academic, seldom a good thing, and a bit dull.
Not surprisingly the “tell us a bit about yourselves and your programme” bit was a distraction at best. To this end, I would suggest drawing from the “everyday” anecdote of Steven Devine himself.
Here Mr Devine took us through a typical York ginnel to the Three Legged Mare pub. There was a folk-blues band playing and he popped in for a pint. Through the window, he noticed some members of an ensemble looking in. He bought them a drink and left. When he returned one of the players had joined in.
One can take many things from this lovely account: that this could never, ever happen at a “classical” music concert; that this musical experience belongs to the working class, pop, rock, folk, blues culture, or that the beer in the Three Legged Mare is decidedly better than that on offer at the NCEM.
“It was wonderful to welcome these eight ensembles from the UK and Europe to what is always an enriching experience,” says York Early Music Festival administrative director Delma Tomlin
For me, it is about the love and importance of music and music making. And what an enriching experience this is. Bob Dylan and John Adams are both great composers, just different.
Anyway, back to the competition. A panel of experts in the field of Early Music, Bart Demuyt, Philip Hobbs, Elizabeth Kenny, Lionel Meunier and Emily Worthington judged that Ayres Extemporae were the winners of this prestigious York Early Music International Young Artists Competition.
Additional prizes went to: [Hanse]Pfeyfferey (Cambridge Early Music), Ensemble Bastion (EUBO Development Trust) and Apollo’s Cabinet (Friends of York Early Music Festival).
So, what a way to close this remarkable festival: with renewal. Talking of which, none of this could happen without the dedication, professionalism and creativity of Delma Tomlin MBE, director of the internationally acclaimed National Centre of Early Music (NCEM) and the York Early Music Festival.
Unfortunately, I am all out of superlatives, so how about “National Treasure”? Sorry Delma.
Belgian trio Ayres Extemporae win the 2024 York Early Music International Young Artists Competition
Winners Ayres Extemporae with the York Early Music International Young Artists Competition judging panel
AYRES Extemporae were awarded first prize at the York Early Music International Young Artists Competition last Saturday, against fierce competition from seven fellow international ensembles from across Europe.
The Belgian-based ensemble receives a professional recording contract from Linn Records, a £1,000 cash prize, a future paid engagement with the York Early Music Festival and recording opportunities with BBC Radio 3.
During the two days before the competition, each ensemble presented an informal recital at the National Centre for Early Music, Walmgate, with the aim of giving the musicians the opportunity to adapt to the performance space and become accustomed with festival audience members in advance of the final.
These groups were selected from a pool of 48 ensembles from across the world and were judged by an international jury of Bart Demuyt, director of AMUZ/Alamire; Philip Hobbs, from Linn Records; Elizabeth Kenny, internationally acclaimed lutenist; Lionel Meunier, director of Vox Luminis, and Emily Worthington, clarinettist and University of York lecturer.
The competition provided a spectacular finale to the ten-day festival, which connected old friends and new through concerts, recitals and workshops staged in a variety of historic venues around the city.
The recitals from this year’s final are available to watch on demand at ncem.co.uk and on the NCEM’s YouTube channel and edited highlights will be shared on BBC Radio 3’s Early Music Show on Sunday, November 3 2024.
Friends of York Early Music Festival Award winners Apollo’s Cabinet with festival administrative director Delma Tomlin, right
Ayres Extemporae are: Moldovan-Spanish violinist Xenia Gogu, Spanish cellist Víctor García García, playing on a five-string cello piccolo, and Portuguese cellist Teresa Madeira.
Apollo’s Cabinet, from the UK, scooped the Friends of York Early Music Festival Award, a cash prize of £1,000; Ensemble Bastion won a cash prize of £1,000, endowed by the EUBO Development Trust, for the Most Promising Young Artists specialising in the Baroque repertoire, and [hanse] Pfeyfferey scooped the Cambridge Early Music Prize, which includes a paid performance in Cambridge.
The 2024 finalists were: Apollo’s Cabinet (UK); Ayres Extemporae (Belgium); Ensemble Bastion (Switzerland); Friedrichs Nebelmeer Ensemble (Switzerland); [hanse] Pfeyfferey (Germany); Pseudonym (Switzerland); Rubens Rosa (Switzerland) and Trio Altizans (Netherlands).
The 2024 competition was presented by Steven Devine,harpsichordist, fortepianist, conductor and director of orchestral, choral and opera repertoire, and former artistic advisor to the York Early Music Festival.
At the end of the competition, Philip Hobbs, from Linn Records, who chaired the judging panel, said: “This competition is definitely one of the musical highlights of the year and Linn Records is very proud to continue this important relationship with the York Early Music Festival and with the National Centre for Early Music.
Pseudonym musiciansMaya Webne-Behrman, violin, and Liane Sadler Baroque, traverso, performing in the York Early Music International Young Artists Competition
“Today’s concert illustrated an array of extraordinarily inventive musical talent, and I would like to congratulate all eight ensembles who performed.”
Delma Tomlin, NCEM director and festival administrative director, said: “It was wonderful to welcome these eight ensembles from the UK and Europe to what is always an enriching experience and an amazing opportunity to share music and enhance their skills.
“I would like to thank everyone who appeared today, once again the standard of performance was of the highest calibre. I would also like to say a huge thank-you to our panel of judges for their hard work and support and also to Steven Devine for his expertise and invaluable help.”
Winners Ayres Extemporae said: “We’re absolutely delighted and honoured to receive this amazing prize and would like to thank everyone who has supported us – our time in York has been a wonderful experience and everyone has been super-friendly.
“We’d like to thank all the other ensembles for their encouragement, friendship and brilliant musicianship, it’s been a real pleasure spending time with the other musicians. We’re really looking forward to returning to York and recording with Linn Records.”
York Early Music Festival celebrates at York Mansion House
Utopia: Flanders musicians played at National Centre for Early Music, York
THE 2024 York Early Music Festival enjoyed not one, but two celebrations in the presence of the Lord Mayor of York, Councillor Margaret Wells, last week.
Young musicians from the United Kingdom, Switzerland, Germany, Belgium and even Mexico arrived in York to take part in the York Early Music International Young Artists Competition, held in the city every two years.
The musicians were welcomed with a drinks reception and enjoyed a tour of York Mansion House with the Lord Mayor, who revealed some of the resplendent Georgian building’s hidden secrets.
The next day, the Delegation of Flanders to the UK hosted a reception to mark Flanders Day – a major national holiday in the Belgian region – in celebration of a new partnership with the York Early Music Festival, in association with the Alamire Foundation and AMUZ, with support from the Flanders government.
Bart Brosius, General Representative of Flanders in the UK and Ireland, welcomed the delegation to York and Bart Demuyt, from the Alamire Foundation in Flanders, extended a warm thank-you to the National Centre for Early Music director Delma Tomlin for her continued hard work, giving aspiring young musicians from the UK and beyond the encouragement and recognition they deserve.
Guests included: York Central MP Rachael Maskell; Claire Douglas, Leader of City of York Council; Joan Concannon, University of York; Philip Nelson, Harrowells Solicitors; Adam Butterworth, Department for Business and Trade, and many other guests from the Flanders delegation.
Audiences enjoyed concerts by two ensembles from Flanders, Utopia at the National Centre for Early Music and Cappella Pratensis & I Fedeli at York Minster.
From Flanders with early music: Cappella Pratensis performed at York Minster
Shed Seven: Playing York Museum Gardens as the homecoing fulcrum of their 30th anniversary celebrations
AFTER a first ever number one album in January, Shed Seven’s 30th anniversary celebrations hit a homecoming peak with tomorrow (19/7/2024) and Saturday’s sold-out concerts at Futuresound’s inaugural Live At York Museum Gardens festival.
“I’d be quite happy for it chuck it down all week, but then NOT,” says lead singer Rick Witter. “Obviously, it is what it is, but it does make for a better atmosphere if you don’t have to contend with rain.
“We have thought before of selling [Chasing] rainbow-coloured umbrellas, but unfortunately at indoor gigs they’d be classified as offensive weapons!”
Good news for Rick and Shed-heads alike, the weather forecast suggests dry conditions will prevail on both nights, when Shed Seven will perform on the concrete concourse in front of the Yorkshire Museum, rather than against the St Mary’s Abbey backdrop once favoured by the York Mystery Plays.
“We’ll be facing the river [Ouse], with the riverside walk being cordoned off, so I imagine having 4,000 people crammed into the space each night will look amazing,” says Rick, as the Sheds look forward to playing the gardens where The Press first photographed the band after they signed to Polydor Records in late-1993.
“As a small band from York, we’ve managed to close the river for two nights, so it’s going to be a huge York event. We’ve been reminiscing about when we were 13-14, sitting in the Museum Gardens with music blasting out of our ghetto blasters, so it will feel weird but lovely this weekend for me and Paul [guitarist Paul Banks] and Tom [bassist Tom Gladwin].”
If that sepia-faded photo-shoot for The Press does not spring immediately to his mind, “I did see a picture of us in 1992 at the time of the Fibbers’ Battle of the Bands. We looked so hopeful, so youthful. We still do!” says Rick, as whippet-slim as ever at 51.
Shed Seven, who now feature Rob ‘Maxi ‘Maxfield on drums and Tim Wills on guitars and keys, rather than founder members Alan Leach and Joe Johnson, spent last weekend rehearsing intensely for this week’s shows.
“We’re definitely going to mix it up a little bit with the two sets, as we’re in the fortunate position of having too many songs. Some will be played on Friday and not Saturday and vice versa, so those who’ve booked for both nights are in for a treat,” says Rick. “We’ll be cramming in as much as we can into one hour 50 minutes each night.”
Special guests are promised too, but without giving names away, Rick does say: “If you look back to our album that came out in January [A Matter Of Time], we had several guests on that record, and I think you might get to see some of those people in our sets.
“Obviously, Pete [Peter Doherty, of The Libertines] will be in the ‘field’ with us on both nights as a support act, so it would be rude not to perform Throwaways (Witter and Doherty’s album-closing duet] with him.”
Will Happy Mondays’ Rowetta make an appearance for In Ecstasy or Reverend And The Makers’ Laura McClure join the Sheds for Tripping With You? Wait and see, but definitely a York choir will be participating.
“Me and Paul visited our old school last Thursday – Huntington School – for the first time in an awfully long time, which felt lovely but a bit odd as a 51-year-old man being back in the classroom! We’d reached out to the school hoping for a mixture of age groups, boys and girls, and it turns out there’s a choir of 60, so we’ve settled for having 20 on each night.” Which song, Rick? Not telling!
New band members Maxfield, from Manchester, and Wills, from London, will be breaking new ground. “They’ve spent a lot of time with us here rehearsing, but this will be the first time they’ve performed with us in our home city, so that’ll be a big moment for York,” says Rick. “And they’ve both talked about moving to York.”
Likewise, Shed Seven will be playing to more than a home crowd. “It’s just amazing that people from all over the country have bought tickets for these shows, so we’ll have 8,000 people descending on our lovely city, filling our bars and hotels,” says Rick.
The 30th anniversary celebrations do not stop there. “The funny thing is, we’re only half way through. I was speaking to Paul about what we might not be able to fit into the sets from A Matter Of Time, and only six months after its release, it’s almost as if we’re having to put a number one album to one side already, as we’re putting so much into our next album.”
Liquid Gold, an album of orchestral re-workings of 12 Shed Seven hits and live favourites, reimagined by the band in collaboration with arrangers Fiona Brice and Michael Rendall, will be released on September 27.
“We’re very excited about this album coming out to mark 30 years,” says Rick. “Only next year can we sit back and reflect on what we achieved this year.”
Still to come in 2024 are multiple in-store appearances to promote Liquid Gold, with yet more dates soon to be added to the schedule, followed by the 30th Anniversary Tour in the traditional Shedcember slot in November and December, with Yorkshire gigs at Sheffield Octagon, (November 14), Victoria Theatre, Halifax (November 18) Hull City Hall, November 19, and Leeds O2 Academy (November 30).
Witter and Banks will see out the year with a brace of intimate acoustic concerts at Huntington Working Men’s Club, York, on December 21 and 22. Sold out, of course.
Futuresound presents Live At York Museum Gardens, Jack Savoretti, tonight; Shed Seven, Friday and Saturday. Gates open at 5pm each evening. Box office: seetickets.com/event/jack-savoretti/york-museum-gardens/2929799.
Thursday bill: Ellur, 5.45pm to 6.15pm; Benjamin Francis Leftwich, 6.30pm to 7.15pm; Foy Vance, 7.45pm to 8.30pm; Jack Savoretti, 9p, to 10.30pm.
Friday bill: Serotones (Duke Witter’s band), 5.45pm to 6.15pm; Lottery Winners, 6.35pm to 7.05pm; Peter Doherty, 7.25pm to 8.10pm; Shed Seven, 8.40pm to 10.30pm.
Saturday bill: Apollo Junction, 5.45pm to 6.15pm; Brooke Combe, 6.35pm to 7.05pm; Peter Doherty, 7.25pm to 8.10pm; Shed Seven, 8.40pm to 10.30pm.
James: “Still refulgent with fresh ideas, still adventurous both musically and artistically after 41 years”. Picture: Paul Dixon
JAMES once gave a live album – recorded in lonesome pre-Sit Down success days at Bath’s Moles Club – the acerbic moniker of One Man Clapping.
Amid much lamenting, touring circuit institution Moles closed last December, declared insolvent, but Johnny Yen from that November 1988 set list lives on. Now jauntily opening James’s Live In 2024 show, the band on the crest of the crest of a second wave after re-forming in 2007 and topping the charts with a studio album for the first time with Yummy, their 18th, in April. Rather more than one man clapping now.
They may be a Manchester band – first championed by fellow Mancunian Morrissey, sporting a James T-shirt in their early, mutually vegetarian days – but Tim Booth is a son of Clifford, Boston Spa, and Leeds is always a homecoming gig for the Yorkshire frontman now resident in Costa Rica, Central America.
He even commented on Leeds needing “cheering up”, without directly mentioning yet more Wembley woe that had befallen his ever-damned Leeds United a fortnight earlier.
Yet if you could choose one band to blow away those blues, while addressing themes of AI technology, the fragile climate and tinderbox American politics on their latest album, all the while cherishing the abiding wonder of love, flowers and butterflies, then James would be that band. Still refulgent with fresh ideas, still adventurous both musically and artistically after 41 years.
Under normal band parlance, you might call them “veterans” or a “heritage act”, but James keep reinventing themselves, reinvigorating their ever-expanding catalogue. Last year, for example, their James Lasted Orchestral Tour rolled into York Barbican with a 22-piece orchestra, Orca 22, and the eight-strong Manchester Inspirational Voices gospel choir.
A year on in Leeds, four of those choir members complemented the nine-piece line-up of James, wherein vocalist Chloe Alper, once part of Riot grrrl punk band Period Pains, and second drummer Debbie Knox-Hewson have settled in so thrillingly.
Studio Fury’s cover design for James’s 18th studio album, the chart-topping Yummy
In the only concession to ageing, Booth apologised that he and trumpet player Andy Diagram, as dandy as ever in black skirt, would not be clambering up the rafters to perform from the gods, as had long been their custom.
Nevertheless, now he’s 64, Booth still revelled in dancing as if in a loose-limbed trance, and still went crowd surfing too, burly lads at the front quick to give him a helping hand to set him on his way. His megaphone made its customary rallying appearance too, in the polemical Mobile God.
Like the band line-up, a James gig is built around a free-flowing fusion of old and new. On the one hand, Booth, Diagram, drummer David Baynton-Power, bassist Jim Glennie, multi-instrumentalist Saul Davies and seasoned keyboardist Mark Hunter and guitarist Adrian Oxaal, together with the surfing and dancing, the anthems and the crowd singalongs.
On the other, Alper’s sublime singing and Knox-Hewson’s percussive exuberance, eight out of the 12 new songs on Yummy being road-tested, and crucially, the ever-changing, ever-prescient images on the three screens that matched each song’s theme, whether with butterfly beauty, futuristic foreboding, warped psychedelics or AI manipulation.
Every last detail had significance: not least the pile of junked TV sets that accompanied Booth’s lambasting of our destructive age “f***ing up the world for the generations still to come” in his intro to Our World.
In advance, the audience had been asked to “kindly refrain from using your phones during the show”, and Booth later warned that if he faced a bank of cameras, it would hinder his performance.
These days, such a request is akin to King Canute seeking to turn back the tide, but for those who desisted, the reward came with his advice, “This is the one to film”, before the extraordinary X-ray/robot/AI graphics for Mobile God, a sandwich-board warning of a future-rock song about the perils of mobile technology.
The poster for James’s Live In 2024 tour
Over a two-hour set of 20 songs, a James gig carries the promise of the familiar – Booth’s innate sense of theatre from student drama days, a steady stream of hits, such as Just Like Fred Astaire, Tomorrow and Come Home, and the audience taking over the singing as all the band gathers in line on the stage apron for the set-closing Sometimes (Lester Piggott) – peppered with the unexpected.
This came in the form of the debut live performance of Butterfly and tour debut of Out To Get You, and in the band’s chemistry that lets them ride on “the moment”. In this case, a free-wheeling coda from Saul Davies, James’s marrow to the Bad Seeds’ Warren Ellis, violin in excelsis in Tomorrow. His dad, equally dapper in cap and buttoned coat in the band guest seats, remarked afterwards that he had never seen Saul extend that solo for so long, as much flare as flair.
Unpredictable too was the encore, by now up against the clock to meet the regulation 10.30pm cut-off point of no return. Born Of Frustration had to be jettisoned, but mystical Yummy fan favourite Way Over Our Head swayed yummily, Beautiful Beaches was irresistibly melodious yet melancholic, an eco-warning fashioned in the devastating heat of climate change, and just when Sit Down was hitting its stride, a medical emergency brought everything to a stand.
Emergency over, Sit Down stood up to its usual singalong finale, orchestrated as ever by a wonder-struck Booth, but would extra time be permitted? Oh yes, it would, and it felt like a last-minute winning goal as Laid rushed into saucy commotion.
The best laid schemes for summer satisfaction should include heading to the East Coast on July 26 for James’s fourth outdoor outing at Scarborough Open Air Theatre, following similar seaside jaunts in 2025, 2018 and 2021, with room to sit down or stand up (box office: ticketmaster.co.uk/event/35006049E46E32D3). No doubt the set list will be different again.
Set list, Leeds First Direct Arena, June 8
Johnny Yen; Waltzing Along; Our World; Rogue; Life’s A F***ing Miracle; Just Like Fred Astaire; Ring The Bells; Better With You; Butterfly (live debut); Getting Away With It (All Messed Up); Shadow Of A Giant; Out To Get You (tour debut); Mobile God; Tomorrow; Come Home; Sometimes (Lester Piggott).
Encore: Way Over Our Head; Beautiful Beaches; Sit Down; Laid.
Shed Seven: Playing sold-out concerts in York Museum Gardens on Friday and Saturday
SHED Seven’s 30th anniversary open-air concerts are the headline act on Charles Hutchinson’s arts and culture bill for the week ahead. Look out for global travels, Gershwin celebrations and a Hitchcockian comic caper too.
York festival of the week: Futuresound presents Live At York Museum Gardens, Jack Savoretti, tomorrow; Shed Seven, Friday and Saturday
ANGLO-ITALIAN singer-songwriter Jack Savoretti opens the inaugural Live At York Museum Gardens festival at the 4,000-capacity gardens tomorrow, when the support acts will be Northern Irish folk-blues troubadour Foy Vance, York singer-songwriter Benjamin Francis Leftwich and fast-rising Halifax act Ellur.
Both of Shed Seven’s home-city 30th anniversary gigs have sold out. Expect a different set list each night, special guests and a school choir, plus support slots for The Libertines’ Peter Doherty, The Lottery Winners and York band Serotones on Friday and Doherty, Brooke Combe and Apollo Junction on Saturday. Sugababes’ festival-closing concert on July 21 was cancelled in April. Box office: seetickets.com/event/jack-savoretti/york-museum-gardens/2929799.
Claire Martin: Celebrating Gershwin’s Rhapsody In Blue at Ryedale Festival. Picture: Kenny McCracken
Jazz gig of the week: Ryedale Festival, Claire Martin and Friends, Rhapsody In Blue – A Gershwin Celebration, Milton Rooms, Malton, Friday, 8pm
LONDON jazz singer Claire Martin leads her all-star line-up in a celebration of George Gershwin’s uplifting music and the 100th anniversary of Rhapsody In Blue, a piece that changed musical history.
In the band line-up will be pianist Rob Barron, double bassist Jeremy Brown, drummer Mark Taylor, trumpet player Quentin Collins and saxophonist Karen Sharp. Box office: themiltonrooms.com or ryedalefestival.com.
Maria Gray in the role of The Acrobat in Around The World In 80 Days-ish at York Theatre Royal. Picture: Charlie Kirkpatrick
Theatrical return of the week: Around The World In 80 Days-ish, York Theatre Royal, tomorrow to August 3
PREMIERED on York playing fields in 2021, revived in a touring co-production with Tilted Wig that opened at the Theatre Royal in February 2023, creative director Juliet Forster’s circus-themed adaptation of Jules Verne’s novel returns under a new title with a new cast.
Join a raggle-taggle band of circus performers as they embark on their most daring feat yet: to perform the fictitious story of Phileas Fogg and his thrilling race across the globe. But wait? Who is this intrepid American travel writer, Nellie Bly, biting at his heels? Will an actual, real-life woman win this race? Cue a carnival of delights with tricks, flicks and brand-new bits. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Katie Leckey and Jack Mackay: Co-artistic directors of Griffonage Theatre, alternating roles in Harold Pinter’s The Dumb Waiter
Fringe show of the week: Griffonage Theatre in The Dumb Waiter, Theatre@41, Monkgate, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee
YORK company Griffonage Theatre follow up February’s debut production of Patrick Hamilton’s Rope with Harold Pinter’s 1957 one-act play The Dumb Waiter, directed and designed by Wilf Tomlinson.
Two hitmen, Ben and Gus, are waiting in a basement room for their assignment, but why is a dumbwaiter in there, when the basement does not appear to be in a restaurant? To make matters worse, the loo won’t flush, the kettle won’t boil, and the two men are increasingly at odds with each other. Unique to this production, actors Jack Mackay and Katie Leckey will alternate the roles of Ben and Gus at each performance. Box office: tickets.41monkgate.co.uk.
One of Anna Matyus’s artworks on show at Helmsley Arts Centre
Exhibition of the week: Anna Matyus, Helmsley Arts Centre, until August 9
ANNA Matyus’s work explores the powerful spiritual resonance of historical sacred buildings and their setting in the landscape. Using etching and collagraph printmaking techniques and a colourful palette, she seeks to bring to life the powerful geometry of the often-faded motifs and time- worn patterns and symbols of historic artefacts found in the masonry and ancient tiles of these sacred sites.
“My final prints explore and record the dynamic rhythms of three-dimensional architectural form, layered with their decorative and symbolic adornment in a graphic expression of awe and wonder,” she says.
Gary Louris: The Jayhawks’ singer, guitarist and songwriter plays solo at The Crescent on Saturday, York. Picture: Steve Cohen
American solo act of the week: Gary Louris, of The Jayhawks, supported by Dave Fiddler, The Crescent, York, Saturday, 7.30pm
OVER three decades, vocalist, guitarist and songwriter Gary Louris has co-led Minneapolis country rock supremos The Jayhawks with Mark Olson, as well as being a member of alt.rock supergroup Golden Smog, forming Au Pair with North Carolina artist Django Haskins in 2015 and releasing two solo albums, 2008’s Vagabonds and 2021’s Jump For Joy.
He has recorded with acts as diverse as The Black Crowes, Counting Crows, Uncle Tupelo, Lucinda Williams, Roger McGuinn, Maria McKee, Tift Merritt and The Wallflowers too. As an alternative to the sold-out Sheds on Saturday, look no further than this American rock luminary. Box office: thecrescentyork.com.
Cutting a dash but in a hurry: Tom Byrne’s Richard Hannay in The 39 Steps. Picture: Mark Senior
Comedy play of the week: The 39 Steps, Grand Opera House, York, July 23 to July 27, 7.30pm and 2.30pm Wednesday and Saturday matinees
PATRICK Barlow’s award-garlanded stage adaptation of The 39 Steps has four actors playing 139 roles between them in 100 dashing minutes as they seek to re-create Alfred Hitchcock’s 1935 spy thriller while staying true to John Buchan’s 1915 book.
Tom Byrne – Falklands War-era Prince Andrew in The Crown – plays on-the-run handsome hero Richard Hannay, complete with stiff upper-lip, British gung-ho and pencil moustache as he encounters dastardly murders, double-crossing secret agents and devastatingly beautiful women. Box office: atgtickets.com/york.
James: Playing Scarborough Open Air Theatre for the fourth time on July 26. Picture: Paul Dixon
Coastal gig of the week: James, Scarborough Open Air Theatre, July 26, gates 6pm
JAMES follow up Scarborough appearances in 2015, 2018 and 2021 by continuing that three-year cycle in 2024, on the heels of releasing the chart-topping Yummy, their 18th studio album, in April.
“I’m very pleased that we will be playing Scarborough Open Air Theatre this summer – our fourth time in fact,” says bassist and founder member Jim Glennie. “If you haven’t been there before, then make sure you come. It’s a cracking venue and you can even have a paddle in the sea before the show!” Support acts will be Reverend And The Makers, from Sheffield, and Nottingham indie rock trio Girlband!. Box office: scarboroughopenairtheatre.com/james.
TO quote Anne-Marie Evans in the Daily Telegraph, “whereas the florilegia of the 17th century were created to portray the beauty and novelty of those plants brought back from the colonies, the modern florilegium may be seen as a conservation tool, instrumental in recording for posterity collections of plants within a chosen garden”.
Florilegium’s Le Roi s’Amuse: Music For A King’s Pleasure takes this delicate analogy, a musical journey around a musical flower garden, to “explore the intimate and elegant sound world of France in the decades around 1700 and perform music by composers known to both Louis XIV and Louis XV”.
An inspired concept that rewarded us with an impeccable concert of 18th-century French Baroque music. The concert opened with Jacques-Martin Hotteterre’s Suite in D major, and despite a gentle whinge by flautist Ashley Solomon at the 10.30am start, it was impeccable.
The opening Prelude set the tone of serious elegance and refinement. The flute playing by Mr Solomon was simply divine; phrases lovingly caressed, detail rich and polished. The Sarabande oozed charm and elegance, Menuet’s I & II were fresh and vibrant and the Brione’ Gigue (La Folichon) closed with a deliciously cute signing off.
Some of the movements were christened with titles such as Le Duc d’Orléans and Le Comte de Brionne. I can only assume these referred to courtiers from the reign of Louis XIV.
Jacques Morel’s Chaconne was great fun. It started out as a sweet Sunday morning chat with the flute and viola da gamba. The dialogue became a little more animated, competitive and virtuosic but the narrative always remained within the boundaries of decency, and they did kiss and make up at the end.
Couperin’s Unmeasured Prelude No. 13 is a work written without rhythm or metre indications. The score uses long groups of phrased whole notes, a bit like an instrumental plainchant. Anyhow, the performance was just superb; a quiet, melancholic jewel.
I haven’t heard of the composer Michel de la Barre. He wrote music for the transverse flute (no keys to cover the tone holes). The performance of his Suite No. 9 in G major was ensemble music making of the very highest order.
Marin Marais’s Suite in D minor was a tour de force performed with real, almost musically primal energy and vitality by Reiko Ichise (viola da gamba). The sound world was unlike anything else on offer: muscular, grainy lower register, biting articulation, dramatic dynamic range.
Such was the sheer physicality of the playing that even the wonderful Siobhan Armstrong’s harp accompaniment came across somewhat cowed, almost apologetic and the balance, not surprisingly, uneven.
Jacques-Martin Hotteterre’s Prelude: Pourquoy, Doux Rossignol proved to be the tenderest of love songs. The playing so refined, so sensitive.
Jean-Baptiste Barrière’s Sonata a Tre proved to be a worthy finale. Here, as ever, the playing was incisive, warm and polished. There was an encore, but unfortunately I missed the name and title of the work. It was very good, however.
Florilegium – Ashley Solomon, flute, Reiko Ichise, viola da gamba, and Siobhán Armstrong, harp – clearly are a world-class period instrument ensemble. And this insightful exploration and interpretation of the “intimate and elegant” French Baroque musical world of Jacques-Martin Hotteterre, Marin Marais and their lesser-known contemporaries was an absolute joy.
The performances were invariably elegant, technically flawless and, perhaps above all, transported the listener to a quite magical place.
Friargate Theatre’s brochure cover for the Autumn 2024season
THE poster boxes have gone, the windows are clear, the entrance hallway has new seating, all signs of the revival of activities at the Friargate Theatre in York.
Most significantly of all, brochures for the autumn season of comedy, theatre, storytelling, music, film and family shows at the home of Riding Lights Theatre Company are being distributed around the city.
In the wake of the death of Riding Lights founder and director and Friargate Theatre artistic programmer Paul Burbridge last year, the Christian theatre company is in the process of recruiting a new executive director and artistic director.
As the search goes on, the task of overseeing the Lower Friargate theatre and the autumn season falls to associate director Ollie Brown. “This season is all about rebuilding our audience,” he says. “Maybe some people have forgotten us as York’s hidden theatre by the river; we want to be come better known again with a programme that really supports York’s arts scene with shows York wants to see.”
Comedy will be to the fore, led off by the return of Right Here, Right Now, York’s improv comedy night on September 20, October 18, November 15 and December 6, when the merry band of improvisers will turn audience suggestions into chaotic comedy, music, mayhem and joy-filled nonsense.
September 26 marks the launch of Get Up Stand Up, York’s new monthly comedy club, featuring stand-ups from the British comedy circuit, each bill comprising a compere introducing two acts.
Check online at friargatetheatre.co.uk for updates on the 8pm line-ups for the last Thursday of each month, including October 31 and November 28. Steffen Peddie will host the first two shows, Tony Vino, the next two, and Patrick Monahan and Lost Voice Guy (Lee Ridley) will be among the acts heading for Lower Friargate.
Frankenstein (On A Budget), on October 5, combines one man, one monster, one glorious dream to singlehandedly tell the most famous cult horror story of all time on no budget whatsoever. What could possibly go wrong in this comedy musical Hammer Horror homage, replete with new music, cardboard creations and characters inspired by Mary Shelley and Boris Karloff.
Súper Chefs: Interactive musical exploring family, food and gender roles at Friargate Theatre on November 17
Still on the comedy front, ever witty York sketch writer and playwright Paul Birch will be holding workshops at his Improv Gym, some at Friargate Theatre, others at York Theatre Royal.
The autumn season will open on September 7 with the first family show, Welcome To The World, Little Wild Theatre’s interactive entertainment for nought to five-year-olds that takes a journey with Mother Earth’s children, Tide, Ariel and Blaze as they take their first steps in the world.
On September 28, Rhubarb Theatre’s Finding Chester follows the story of Edith Tiddles’ missing moggie when she needs the help of her delivery team to orchestrate the search.
Murray Lachlan Young’s epic fairytale for six-year-olds and upwards, The Chronicles Of Atom And Luna, will be performed by Funnelwick Limb on October 29 and October 30, with its story of special twins, one who can talk to the birds, the other who can control the moon.
Further family entertainment follows with Jam Jar Theatre’s puppetry musical How A Jellyfish Saved The World on November 3; Maya Productions’ Súper Chefs, a bi-lingual, interactive Latin American family musical by Betsy Picart, on November 17, and York company Next Door But One’s The Firework-Maker’s Daughter, a magical voyage across lakes and over mountains based on Philip Pullman’s novel, on November 30.
A season of thought-provoking and dynamic plays will start in a hurry on October 12 when Crew Of Patches present The Shakespeare Jukebox. The rules are simple: “give us the name of a Shakespeare play and we’ll do it…well, a bit of it at least”. History, comedy and tragedy combine chaotically, faced with 37 plays to slay.
Climate change will be the topic on October 12 in Decommissioned, a heart-warming, comical play inspired by the true story of Fairbourne in Wales, with its story of caring for children, falling in love and staying sane while tackling the climate catastrophe.
Frankenstein (On A Budget): Comedy musical Hammer Horror homage with gore & flashing lights on October 5
On October 25, Adverse Camber presents storyteller Phil Okwedy in The Gods Are All Here, a personal story sparked by the discovery of letters from his father in Nigeria to his mother in Wales. Myths, folk tales and legends of the African diaspora feature.
On November 29, Andrew Harrison performs The Beloved Son, a new play written and directed by Riding Lights luminary Murray Watts for Wayfarer Productions that explores hope and longing, family dynamics, sexual and emotional crises and the profound insights of priest and psychologist Henri Nouwen.
Mat Jones brings Charles Dickens’s Victorian story of miserly Ebenezer Scrooge to life in his solo performance of A Christmas Carol on December 13.
The autumn’s season’s storytelling sessions promise a busy day for Gav Cross on November 2, presenting Ghastly Stories For Gruesome Gremlins at 2pm and After Supper Ghost Stories, a portmanteau of ghostly tales told by an unreliable narrator, at 7.30pm.
On the music front, on October 19, Saturday Night With The Shakers showcases the hits, misses, B-sides and lost classics from the golden age of Merseybeat. On November 1, Joseph O’Brien pays homage to Frank Sinatra in A Man And His Music.
The Aesthetica Short Film Festival will be in residence from November 6 to 10 and a Christmas film double bill of The Muppet Christmas Carol (2.30pm) and Die Hard (8pm) is booked in for December 7.
Riding Lights return home for A Christmas Cracker, Paul Birch’s festive family show bursting with seasonal stories, told by world famous but lost storyteller Ebenezer Sneezer, from December 21 to 24. Comedy, puppetry and storytelling, strange ideas and a dog called Cracker combine in this magical glimpse of Christmas.
To book tickets, head to friargatetheatre.co.uk or ring 01904 613000.
Shed Seven: Playing sold-out concerts in York Museum Gardens on July 19 and 20
SHED Seven’s 30th anniversary open-air gigs top Charles Hutchinson’s bill. Roman emperors, Ryedale musicians, Brazilian sambas and theatrical Fools look promising too.
York festival of the week: Futuresound presents Live At York Museum Gardens, Jack Savoretti, July 18; Shed Seven, July 19 and 20
ONLY 100 tickets are still available for Anglo-Italian singer-songwriter Jack Savoretti’s opening concert of the inaugural Live At York Museum Gardens festival at the 4,000-capacity York Museum Gardens, when the support acts will be Northern Irish folk-blues troubadour Foy Vance, York singer-songwriter Benjamin Francis Leftwich and fast-rising Halifax act Ellur.
Both of Shed Seven’s home-city 30th anniversary gigs have sold out. Expect a different set list each night, special guests and a school choir, plus support slots for The Libertines’ Peter Doherty, The Lottery Winners and York band Serotones next Friday and Doherty, Brooke Combe and Apollo Junction next Saturday. Sugababes’ festival-closing concert on July 21 was cancelled in April. Box office: seetickets.com/event/jack-savoretti/york-museum-gardens/2929799.
Jack Savoretti: Opening the inaugural Live At York Museum Gardens festival on Thursday
Tribute show of the week: The Illegal Eagles, York Barbican, Sunday, 7.30pm
IN their 24th year on the road, The Illegal Eagles return with a new production rooted as ever in the greatest hits of the American West Coast country rock band, from Hotel California to Desperado, Life In The Fast Lane to Lyin’ Eyes.
The latest line-up features former Blow Monkeys drummer Tony Kiley, Trevor Newnham, from Dr Hook, on vocals and bass, Greg Webb, vocals and guitars, Mike Baker, vocals, guitars and keys, and Garreth Hicklin, likewise. Box office: yorkbarbican.co.uk.
Mezzo-soprano Fleur Barron: Artist in residence at 2024 Ryedale Festival
Classical festival of the week: Ryedale Festival, running until July 28
THIS summer’s Ryedale Festival features 58 performances in 35 beautiful and historic locations, with performers ranging from Felix Klieser, a horn player born without arms, to trail-blazing Chinese guitarist Xuefei Yang, mezzo-soprano Fleur Barron to violinist Stella Chen, the Van Baerle Piano Trio to Rachel Podger on her Troubadour Trail.
Taking part too will be Royal Wedding cellistSheku Kanneh-Mason, Georgian pianist Giorgi Gigashvili, Brazilian guitar pioneer Plinio Fernandes, choral groups The Marian Consort and Tenebrae, actress and classical music enthusiast Dame Sheila Hancock, jazz singer Claire Martin and Northumbrian folk group The Unthanks. For the full programme and ticket details, head to: ryedalefestival.com.
Mary Beard: Revealing the truths and lies behind the emperors of Rome at Grand Opera House, York
History lesson of the week: Mary Beard: Emperor Of Rome, Grand Opera House, York, tonight, 7.30pm
CLASSICIST scholar, debunking historian and television presenter Mary Beard shines the spotlight on Roman emperors, from the well-known Julius Caesar (assassinated 44 BCE) to the almost-unknown Alexander Severus (assassinated 235 CE).
Venturing beyond the hype of politics, power and succession, she will uncover the facts and fiction of these rulers, assessing what they did and why and how we came to have such a lurid view of them. Audience questions will be taken. Box office: atgtickets.com/york.
Maria Gray in the role of The Acrobat in Around The World In 80 Days-ish at York Theatre Royal. Picture: Charlie Kirkpatrick
Theatrical return of the week: Around The World In 80 Days-ish, York Theatre Royal, July 18 to August 3
PREMIERED on York playing fields in 2021, revived in a touring co-production with Tilted Wig that opened at the Theatre Royal in February 2023, creative director Juliet Forster’s circus-themed adaptation of Jules Verne’s novel returns under a new title with a new cast.
Join a raggle-taggle band of circus performers as they embark on their most daring feat yet: to perform the fictitious story of Phileas Fogg and his thrilling race across the globe. But wait? Who is this intrepid American travel writer, Nellie Bly, biting at his heels? Will an actual, real-life woman win this race? Cue a carnival of delights with tricks, flicks and brand-new bits. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Katie Leckey: Alternating the roles of Ben and Gus with Jack Mackay in Griffonage Theatre’s The Dumb WaiterJack Mackay: Alternating the roles of Ben and Gus with Katie Leckey in Griffonage Theatre’s The Dumb Waiter
Fringe show of the week: Griffonage Theatre in The Dumb Waiter, Theatre@41, Monkgate, York, July 18 to 20, 7.30pm plus 2.30pm Saturday matinee
YORK company Griffonage Theatre follow up February’s debut production of Patrick Hamilton’s Rope with Harold Pinter’s 1957 one-act play The Dumb Waiter, directed and designed by Wilf Tomlinson.
Two hitmen, Ben and Gus, are waiting in a basement room for their assignment, but why is a dumbwaiter in there, when the basement does not appear to be in a restaurant? To make matters worse, the loo won’t flush, the kettle won’t boil, and the two men are increasingly at odds with each other. Unique to this production, actors Jack Mackay and Katie Leckey will alternate the roles of Ben and Gus at each performance. Box office: tickets.41monkgate.co.uk.
Four go into three: Cast members James Aldred, Peter Long, Lucy Chamberlain and Charlotte Horner of The Three Inch Fools
Open-air theatre at the double: The Three Inch Fools in The Secret Diary Of Henry VIII, Scampston Hall, Scampston, near Malton, July 20; Merchant Adventurers’ Hall, York, July 23 and Helmsley Walled Garden, August 6; The Comedy Of Errors, Helmsley Walled Garden, July 19, all at 7pm
THE Three Inch Fools, brothers James and Stephen Hyde’s specialists in fast-paced storytelling and uproarious music-making, head to Scampston, York and Helmsley with their rowdy reimagining of the story of the troublesome Tudor king in The Secret Diary Of Henry VIII as he strives to navigate his way through courtly life, while fighting the French again, re-writing religious law and clocking up six wives.
The Play That Goes Wrong’s Sean Turner directs the Fools’ innovative take on Shakespeare’s shortest, wildest farce The Comedy Of Errors, with its tale of long-lost twins, misunderstandings and messy mishaps. Box office: eventbrite.co.uk.
Barbara Marten, York actor, oil on canvas, by Steve Huison, on show at Pyramid Gallery
Exhibition of the week: Steve Huison, Portraits, Pyramid Gallery, Stonegate, York, until August 31
THE Full Monty actor and artist Steve Huison is exhibiting 12 studies of colleagues in the acting profession, musicians who have inspired him, an adventurous Greenland chef and a famous Swiss clown.
On show are portraits of fellow actors Paul Barber, Arnold Oceng, Barbara Marten, Will Snape, Clarence Smith and Joe Duttine, musicians Abdullah Ibrahim, Quentin Rawlings and Flora Hibberd, counsellor and therapist Dr Tanya Frances, chef Mike Keen and Grock the Clown. Opening hours: Monday to Saturday, 10am to 5pm.
THE director of Ensemble In Echo, cornetto player Gawain Glenton, introduced the concert with: “Happy to see a full church”. Well, Amen to that, although I’m not quite sure whether this was a compliment or a dig.
Talking of digs, Mr Glenton did give 21st century Western [music] a kick up the sackbutt with regard to fetishising newness and innovation, considering them to be “the defining elements of true”.
There is some truth here, but this certainly doesn’t apply to 20th century jazz, although this point was made later in the informative programme notes.
The programme header, Metamorfosi – Italian Transformations, epitomised the 2024 festival theme of ‘imitation being the sincerest form of flattery’. And some. The whole concert brimmed with music based on composers’ refashioning of music of other composers.
Take, for example, Jacob van Eyck’s Amarilli Mia Bella. This piece is in effect a set of continuous variations based on Giulio Caccini’s beautiful but somewhat artificial song My Lovely Amaryllis:
“My lovely Amaryllis,
Don’t you know, O my heart’s sweet desire,
That it is you whom I love?
Open my breast and see written on my heart:
Amaryllis, Amaryllis, Amaryllis, is my love.” (English translation by Paul Archer)
If you replace ‘Amaryllis’ with ‘Horse’ (Father Ted), then the artificial translates into delicious farce.
Anyway, the performance was quite wonderful. Trombone calls, sunshine-bright string responses and one of the most beautifully ornamented melodies I have ever heard (Gawain Glenton, recorder).
Didier Lupi’s Susanne Un Jour is a song setting of a 16th-century French poem by Guillaume Guéroult. And again, artificiality is the poetic driver:
“One day, Susanne’s love was solicited
By two old men coveting her beauty.
She became sad and discomforted at heart,
Seeing the attempt on her chastity.”
Lupi’s chanson setting was reworked by di Lasso, transforming it into a five-voice setting, which in turn was reworked into this virtuosic showpiece by Giovanni Bassano. The performance was again a jaw-dropping delight: trombone and strings creating velvety curtains of sound contrasting a fun-filled duelling duet by the violin (Oliver Webber) and cornetto. The melodic embellishment was breathtaking and delivered with true panache.
Ornamental transformation was seriously on offer with Silas Wollston’s harpsichord performance of Giovanni Maria Trabaci’s Ancidetemi Pur. This had an earlier incarnation as a plain four-part madrigal by Jaques Arcadelt. However, I am far from sure if the actual respect and recognisability of Arcadelt’s madrigal is at all meaningful.
The harpsichord realisation in Mr Wollston’s performance was delightfully bonkers. Blistering scales, ornaments, contrapuntal overload with an occasional contemporary tonal twist or inflection. It did indeed remind me of Gawain Glenton’s take: “As with 20th century jazz standards, the interest with such works lay in hearing an admired musician’s ‘take’ on a particular piece.’”
The performance of Allessandro Striggio’s Ancor Ch’io Possa Dire (originally a 16th century smash hit) was another tour de force, but the lineage of musical begetting passed me by.
By contrast, the intimacy of Gabriello Puliti and Pietro San Giorgio’s setting and responses to Vestiva I Colli came as welcome relief. The former brought Gawain Glenton’s cornetto back to the frontline, gently firing bursts of richly decorated joy. Goodness me, this was good.
The San Giorgio featured a tender duet with Oliver Webber (violin) and Rachel Byrt (viola), adding some sober dignity to the proceedings.
Philippe Verdelot’s Dormendo Un Giorno brought some welcome relief as Mr Glenton took a well-earned break. It was a beautiful lament, sounding as if they actually missed him. How sweet.
After the loveliest of trios by Vincenzo Ruffo, the concert ended with Giovanni Grillo’s seven-part instrumental Sonata Prima.
Not only did the composer embrace the antiphonal music of Giovanni Gabrieli, who in turn embraced and exploited the architecture of the great Italian basilica at San Marco in Venice. But also, in the words of Mr Glenton, “Grillo plainly inserts not one, but two of the most popular secular songs of the 16th century: Susanne Un Jour and Vestiva I Colli. Grillo quotes both pieces at length in a manner that must have brought a smile to all who heard it.”
Now that is a shedload of musical imitation, metamorphosis and flattery. The performance was full of joy and engagement with a delicious, bubbling signing-off.
