Another visit last night to Liverpool’s excellent new music venue, The Music Room at the Philharmonic, to see a superb display of guitar virtuosity from Vieux Farka Toure. Son of Ali Farka Toure, his playing is still reminiscent at times of his father’s style, but there’s no doubt that he has now emerged as guitarist with a style that is uniquely his own, a jaw-dropping blend of psychedelic blues-rock à la Hendrix and the loping, rhythmic desert blues played by Saharan bands like Tinarwen or Tamikrest. Continue reading “Vieux Farka Toure live in Liverpool: jaw-dropping guitar virtuosity”
Play like you think it’s going to be the last time. That’s the only way to play.
– Keith Jarrett
Precisely one week after the atrocities began in Paris we were in the Royal Festival Hall watching Keith Jarrett give one of his most intense and impassioned solo performances. Hunched over the Steinway, his face at times just inches from the keys, the man in the single spotlight and all of us gathered together to hear him play represented everything that the killers seek to destroy – a shared pleasure in music and the freedom to mingle at peace on a Friday night with other human beings from anywhere in the world, of all faiths or none.
In the gilded elegance of the Concert Room in St Georges Hall last week, Ensemble 10/10 led a small but enthusiastic audience on a journey through the aesthetic and political fault lines that shattered 20th century Europe.
As always, Ensemble 10/10 – a splinter group from the Liverpool Philharmonic Orchestra – was led by Clark Rundell, who always communicates energy and enthusiasm for the pieces on the programme. I like these occasions for Rundell’s concise, informed introductions to each work, and because I get to hear music that is challenging and which I met never otherwise get to hear.
For example, the main event at last week’s concert was to be the world première of Bosnian Voices by Nigel Osborne, unknown to me at that point, whose new work sets to music verses composed by people of all faiths and backgrounds from the town of Srebrenica in Bosnia. Continue reading “Ensemble 10/10 explore Europe’s 20th century fault lines”
‘The world that I knew, it has vanished and gone,’ sang Eliza Carthy during Blood and Roses: The Songs of Ewan MacColl, a special concert at the Liverpool Philharmonic this week that marked the centennial of the songwriter and Communist activist’s birth. It was a marvellous evening of passionate songs of politics and love which caused me to reflect on the significance of MacColl’s songs in our changed times. Continue reading “Blood and Roses: The Songs of Ewan MacColl”
There’s a programme on Radio 4 that I hear sometimes when I’m driving in the car. Called Recycled Radio, it chops up old BBC programmes and recycles the snippets into something new. That made me think of all the recycled music I listen to, with album tracks often reassembled into new playlists. As I get older, I listen to a lot of recycled music – but not all the time. Every year brings exciting new sounds. In this post (the first of three) I want to round up some of the music – recycled and new – that I’ve enjoyed in 2015 but never got round to writing about. Continue reading “The music in my head (part 1): recycled and new this year”
On Monday evening I went along to Liverpool’s newest live music venue – the Philharmonic Hall’s Music Room – to see Seckou Keita give another outstanding performance on the kora. I say another because a year ago we saw him, along with the Welsh harpist Catrin Finch, in what we decided was one of the best concerts we had ever attended. Continue reading “Seckou Keita in the Phil’s new Music Room”
I was so disappointed by Donovan’s concert at the Liverpool Phil a couple of weeks back that I couldn’t summon up the enthusiasm to write about. For the record, though, the following review by Del Pike pretty much sums up how three of us sitting on the front row (myself, and friends Joe and Annette) felt about it. Continue reading “Donovan at the Phil: disappointing and bizarre”