Bookings added at June 3rd 2026.
The Best of Mike Oldfield's Tubular Bells I, II & III
Cadogan Hall
Monday 19th January 2026, 19:30
A13
I did the usual early arrival at the venue and was surprised to find the doors already open. Some light rain was forecast and I feared I would be waiting outside!
Cadogan Hall
Monday 19th January 2026, 19:30
A13
I did the usual early arrival at the venue and was surprised to find the doors already open. Some light rain was forecast and I feared I would be waiting outside!
A glass of red and a bit of crowd watching ensued but I didn't get a second glass...
I had some expectations but sadly the performance was not what I had hoped for. In the interval I wrote:- "Strangely one dimensional... take theme, build it to crescendo, switch to another theme and repeat! The switches between instruments seemed banal on occasions!"
On reflection later I realised that it sounded like a collage with individual instruments being added on in the allotted spaces. There seemed little dialogue between the musicians even when the two guitarists were hamming up their parallel solos.
I had some expectations but sadly the performance was not what I had hoped for. In the interval I wrote:- "Strangely one dimensional... take theme, build it to crescendo, switch to another theme and repeat! The switches between instruments seemed banal on occasions!"
On reflection later I realised that it sounded like a collage with individual instruments being added on in the allotted spaces. There seemed little dialogue between the musicians even when the two guitarists were hamming up their parallel solos.
I have no doubt that the individual players were completely competent but the performance did not gel. There was one occasion when for a few bars it seemed as if something was completely out of tune. I was not able to identify what happened and did not see any particular issue or response among the players.
Towards the ends of both sets the lighting crew started ramping things up shining lights at the audience which I felt was inappropriate and did not reflect on an actual audience reaction.
Towards the ends of both sets the lighting crew started ramping things up shining lights at the audience which I felt was inappropriate and did not reflect on an actual audience reaction.
And then... the voice over from the original recording of Tubular Bells sounded completely portentous in the concert setting. That was almost funny in hindsight!
Oh well, there will be other concerts to attend in the not too distant future but I was somewhat relieved that I had not spotted Sunday evenings performance at King's Place of Morton Feldman's 4 1/2 hour long piece 'For Philip Guston'!
Oh well, there will be other concerts to attend in the not too distant future but I was somewhat relieved that I had not spotted Sunday evenings performance at King's Place of Morton Feldman's 4 1/2 hour long piece 'For Philip Guston'!
Colin Currie Quartet
King's Place
Saturday 31st January 2026, 19:30
E10
King's Place
Saturday 31st January 2026, 19:30
E10
I arrived to find the foyer area quite busy but this was due to a performance in Hall 2 which started at 7:00pm.
The first set culminated with the 'premiere' piece which was notable for the use of bows rather than mallets to sound some of the notes.
The first set culminated with the 'premiere' piece which was notable for the use of bows rather than mallets to sound some of the notes.
The second set started with the quartet on marimbas which was followed by the final piece, Drumming Part One by Steve Reich.
It was a stunning performance throughout and I was pleased to have seen Drumming, Part 1 again, possibly for the third time!
It was a stunning performance throughout and I was pleased to have seen Drumming, Part 1 again, possibly for the third time!
Set List
Andy Akiho - Pillar I
Andy Akiho - Pillar IV
Joe Duddell - This Place, These People (World Premiere, Kings Place commission)
Kevin Volans - Four Marimbas
Steve Reich - Drumming, Part I
Andy Akiho - Pillar I
Andy Akiho - Pillar IV
Joe Duddell - This Place, These People (World Premiere, Kings Place commission)
Kevin Volans - Four Marimbas
Steve Reich - Drumming, Part I
Phaedra Ensemble
King's Place
Friday 20th March 2026, 19:30
E9
King's Place
Friday 20th March 2026, 19:30
E9
Steve Reich
WTC 9/11 (2010)
Anna Thorvaldsdottir
Enigma (2018)
Interval
Steve Reich
Violin Phase (1967)
Steve Reich
Triple Quartet (1988)
John Coltrane
Africa (1961)
(arranged Jamie Hamilton)
WTC 9/11 (2010)
Anna Thorvaldsdottir
Enigma (2018)
Interval
Steve Reich
Violin Phase (1967)
Steve Reich
Triple Quartet (1988)
John Coltrane
Africa (1961)
(arranged Jamie Hamilton)
I approached King's Place early as usual and sat in the main bar/restaurant for a glass of red... Then I was first into the auditorium!
It was a great performance moving from Steve Reich works that I am familiar with to some extent then including two works I have not heard previously. There were a number of immediate impressions, not least the magical continuity of the string quartet instruments. They often provided a singularity of sound from the lowest to the highest values... a veritable 'plane' of sound.
It was a great performance moving from Steve Reich works that I am familiar with to some extent then including two works I have not heard previously. There were a number of immediate impressions, not least the magical continuity of the string quartet instruments. They often provided a singularity of sound from the lowest to the highest values... a veritable 'plane' of sound.
The use of pre-recorded elements is something that Steve Reich performances often include and they illustrate neatly the fullness of the 'live' instruments.
'Colour' and 'depth' are hard put to describe the difference but it is there!
I shall re-listen to the recordings that I have of Violin Phase (1967) and Triple Quartet (1988) because there was an intensity in this evening's performance that I had maybe not fully recognised previously. The emotive directness of WTC 9/11 (2010) is something that I understood almost from first listening!
'Colour' and 'depth' are hard put to describe the difference but it is there!
I shall re-listen to the recordings that I have of Violin Phase (1967) and Triple Quartet (1988) because there was an intensity in this evening's performance that I had maybe not fully recognised previously. The emotive directness of WTC 9/11 (2010) is something that I understood almost from first listening!
Colin Currie Group, Music of the Steve Martland Band
King's Place
Friday 17th April 2026, 19:30
E9
Horses of Instruction
Starry Night
Kick
Beat the Retreat
Eternal Delight
I'll hope to find the details of the 'players' eventually!
King's Place
Friday 17th April 2026, 19:30
E9
Horses of Instruction
Starry Night
Kick
Beat the Retreat
Eternal Delight
I'll hope to find the details of the 'players' eventually!
The playlist included four pieces that I had heard a couple of times from the recently purchased Martland: Horses Of Instruction; Beat The Retreat; Eternal Delight etc. The real surprise was Starry Night and I have subsequently found a video recording from the Purbeck International Chamber Music Festival "Recorded live on the 5th September 2021 at St James' Church, Kingston".
The idea of going to a concert where the music was not at all familiar paid dividends on this occasion. It was a wonderful evening's entertainment!
The performers were totally proficient and the sound levels seemed just perfect!
On listening back to Starry Night I was basically amazed to find that it was over twenty minutes long!
The performers were totally proficient and the sound levels seemed just perfect!
On listening back to Starry Night I was basically amazed to find that it was over twenty minutes long!
Having followed through and booked Colin Currie performances I shall do the same with Phaedra Ensemble and Laura Jurd. I will also be on the lookout for GBSR Duo who are musicians in residence at King's Place currently.
They feature in my next concert booking in June!
From a 2014 review:- "The 2008 Van Gogh-inspired Starry Night, for marimba and amplified string quartet, in which Currie was partnered by members of the Aurora Orchestra is effectively a huge, minimalist toccata, in which strings and marimba vie for attention before combining forces for the thrilling climax."
They feature in my next concert booking in June!
From a 2014 review:- "The 2008 Van Gogh-inspired Starry Night, for marimba and amplified string quartet, in which Currie was partnered by members of the Aurora Orchestra is effectively a huge, minimalist toccata, in which strings and marimba vie for attention before combining forces for the thrilling climax."
Julian Lage
Royal Festival Hall
Friday 15th May, 7:30pm RR13
Royal Festival Hall
Friday 15th May, 7:30pm RR13
Travelled the long way round via Stratford and planned to go back via the Circle Line from Embankment to Liverpool Street.
There was a support act by Bryony Jarman-Pinto which didn't really register with me!
There was a support act by Bryony Jarman-Pinto which didn't really register with me!
Julian Lage and band took to the stage at about 8:20pm.
Julian Lage (guitar)
John Medeski (keys)
Jorge Roeder (bass)
Kenny Wollesen (drums)
This show featured Lage's new quartet and pieces from the 2026 recording on Blue Note, Scenes from Above.
Julian Lage (guitar)
John Medeski (keys)
Jorge Roeder (bass)
Kenny Wollesen (drums)
This show featured Lage's new quartet and pieces from the 2026 recording on Blue Note, Scenes from Above.
My note from Friday evening was a bit shrill but in a sense had a valid point:- 'Julian Lage was a bit too carefully/comfortably bracketed by his band for my liking! The harsh tone of a ‘Hammond style’ organ played with too much attention to 'conventional/ubiquitous/cliche' phrases didn't help!'
The musicians were playing on an equal basis not just providing a backing for Julian Lage.
The musicians were playing on an equal basis not just providing a backing for Julian Lage.
Monochromatic Light (Afterlife)
St Giles' Cripplegate
Monday 22nd Jun 2026, 19:30,
Unreserved seating
Tyshawn Sorey, conductor & composer
Davóne Tines, bass-baritone
Ruth Gibson, viola
BBC Singers,
GBSR Duo
Guardian Review by Flora Willson
thebluemoment.com Review by Richard Williams
St Giles' Cripplegate
Monday 22nd Jun 2026, 19:30,
Unreserved seating
Tyshawn Sorey, conductor & composer
Davóne Tines, bass-baritone
Ruth Gibson, viola
BBC Singers,
GBSR Duo
Guardian Review by Flora Willson
thebluemoment.com Review by Richard Williams
I arrived at this event as a result of following various threads of musical interest. I had found Ambrose Akinmusire, Linda May Han Oh and Tyshawn Sorey recording together and I had an interest in GBSR Duo who are Artists in Residence at a King's Place in 2026.
I was slightly anxious that the St Giles event was undesignated seating so planned to arrive early despite the 7:15pm suggested time for doors ready for the 7:30pm performance.
The train from London Field to Liverpool Street was c6 minutes late but I arrived at an open door at 6:45pm and told that they had just opened so I had first choice of seating!
I was slightly anxious that the St Giles event was undesignated seating so planned to arrive early despite the 7:15pm suggested time for doors ready for the 7:30pm performance.
The train from London Field to Liverpool Street was c6 minutes late but I arrived at an open door at 6:45pm and told that they had just opened so I had first choice of seating!
The preparations for the performance were a little unusual, Ruth Gibson on Viola was the first identifiable performer in place, maybe preceded by George Barton of GBSR Duo who was tuning the large drums. A figure in a black gown took the central conductor's chair about ten minutes ahead of the start and the BBC Singers gradually took their seats.
The performance started quietly and that was really a marker for the whole piece eventually making for quite an extreme overall dynamic range.
The performance started quietly and that was really a marker for the whole piece eventually making for quite an extreme overall dynamic range.
Davóne Tines was inactive for the first half of the performance (so it seemed) and eventually took his part with extraordinary vocal expressions which was, of course, something I had never heard previously!
I was particularly taken with the way that dissonant phrases or elements, viola, piano and voice, were repeated and resolved gradually into the musical fabric. The choral and percussive elements provided that fabric some of the time.
The pin dropping intensity did give me a couple of moments of real anxiety as asthmatic coughing would not have been acceptable and I might have had to make a quick exit... I survived, knowing now that the church provided exactly the right acoustic for this performance which I really do not think could be recorded in any meaningful way!
My seat provided a view of Ruth Gibson, Tyshawn Sorey and George Barton as well as some of the BBC Singers. I hope that there will be press notices as there were quite a few seats reserved for them!
I was particularly taken with the way that dissonant phrases or elements, viola, piano and voice, were repeated and resolved gradually into the musical fabric. The choral and percussive elements provided that fabric some of the time.
The pin dropping intensity did give me a couple of moments of real anxiety as asthmatic coughing would not have been acceptable and I might have had to make a quick exit... I survived, knowing now that the church provided exactly the right acoustic for this performance which I really do not think could be recorded in any meaningful way!
My seat provided a view of Ruth Gibson, Tyshawn Sorey and George Barton as well as some of the BBC Singers. I hope that there will be press notices as there were quite a few seats reserved for them!
Pat Metheny Side-Eye III+
The Barbican
Sunday 19 July 2026, 5:30pm B49
Pat Metheny (guitar)
Chris Fishman (piano and keyboards)
Joe Dyson (drums)
Jermaine Paul (bass)
Leonard Patton (vocals, percussion)
A set list from setlist.fm is as follows:-
Opening drum intro
In On It
Bright Size Life
Don't Look Down
Better Days Ahead (PMG)
Timeline (Michael Brecker cover)
Make a New World
The First Circle
(Band introduction)
Urban and Western
The Red One (John Scofield & Pat Metheny)
Más allá (Beyond) (PMG)
Phase Dance (PMG)
Round Trip / Round Trip / Broadway Blues
Zenith Blue
America The Beautiful / The People United Will Never Be Defeated / Last Train Home
Encores : Are You Going With Me
Encores : Minuano (Six Eight) /Antonia James September Fifteenth This is Not America / James, September 15th, / This Is Not America
Encores : Song for Bilbao (PMG)
The Barbican
Sunday 19 July 2026, 5:30pm B49
Pat Metheny (guitar)
Chris Fishman (piano and keyboards)
Joe Dyson (drums)
Jermaine Paul (bass)
Leonard Patton (vocals, percussion)
A set list from setlist.fm is as follows:-
Opening drum intro
In On It
Bright Size Life
Don't Look Down
Better Days Ahead (PMG)
Timeline (Michael Brecker cover)
Make a New World
The First Circle
(Band introduction)
Urban and Western
The Red One (John Scofield & Pat Metheny)
Más allá (Beyond) (PMG)
Phase Dance (PMG)
Round Trip / Round Trip / Broadway Blues
Zenith Blue
America The Beautiful / The People United Will Never Be Defeated / Last Train Home
Encores : Are You Going With Me
Encores : Minuano (Six Eight) /Antonia James September Fifteenth This is Not America / James, September 15th, / This Is Not America
Encores : Song for Bilbao (PMG)
The daytime temperatures had moderated in the last few days so travel to the Barbican via The Weaver line was not too arduous. For some reason I was directed to Hackney Downs initially but then the return train was Hackney Downs only.
Arrived at the usual spot about half an hour before the doors opened so time for a glass of red...
The view from B49 was fine, not least because the stage arrangement was quite focused.
The performance started with a group of drummers arriving on the stage from different directions across the lower hall. The set that followed was two and a half hours as suggested by the venue and that included the encores!
It was a glorious 'cheerful' set perfectly embodying Metheny's particular sound and cadence!
The complete set list was posted setlist.fm and as some of the tunes were effectively note perfect in my memory I could quickly identify 'The Red One'!
Arrived at the usual spot about half an hour before the doors opened so time for a glass of red...
The view from B49 was fine, not least because the stage arrangement was quite focused.
The performance started with a group of drummers arriving on the stage from different directions across the lower hall. The set that followed was two and a half hours as suggested by the venue and that included the encores!
It was a glorious 'cheerful' set perfectly embodying Metheny's particular sound and cadence!
The complete set list was posted setlist.fm and as some of the tunes were effectively note perfect in my memory I could quickly identify 'The Red One'!
It was at Barcelona 07-10/05/92 where I first heard Pat Metheny played repeatedly at the kite event as if it was European Beach Rock... We were there with Jørgen and made a decision not to continue with 2 line kite flying competitions so it was a key moment in our kite history!
Some specific thoughts on the evenings performance would be that I don't like the electronically synthesised guitar sound that Metheny sometimes favours, I much prefer the full depth sound of the 'real' strings. The same may be said for the keyboard players occasional use of the full Hammond squawk!
(I was reminded of the Julian Lage performance back in May where the Hammond was just too pervasive.)
I was interested to read somewhere that Pat Metheny had been wanting to include vocal elements in his live sets for some time. It seems that Leonard Patton fits that place in the line-up very well indeed even as a late inclusion. A perfect match to the iconic sound! Some of his unobtrusive percussion 'contributions' also fitted perfectly in the overall sound and atmosphere.
In summary, an excellent evenings entertainment!
Some specific thoughts on the evenings performance would be that I don't like the electronically synthesised guitar sound that Metheny sometimes favours, I much prefer the full depth sound of the 'real' strings. The same may be said for the keyboard players occasional use of the full Hammond squawk!
(I was reminded of the Julian Lage performance back in May where the Hammond was just too pervasive.)
I was interested to read somewhere that Pat Metheny had been wanting to include vocal elements in his live sets for some time. It seems that Leonard Patton fits that place in the line-up very well indeed even as a late inclusion. A perfect match to the iconic sound! Some of his unobtrusive percussion 'contributions' also fitted perfectly in the overall sound and atmosphere.
In summary, an excellent evenings entertainment!
This image from Aviva, Manchester Friday 17th July replicates the view I had at The Barbican on Sunday 19th July.
As always, I will be on the lookout for the professional critic's views in the event that any of them decide to write up this Pat Metheny concert!
I found the review from Aviva at Manchester on Friday night 17th July 2026. (It is a great venue...) Dominic Walsh, At The Barrier There are some very good photos from the set attached to the article.
Another review from The Barbican performance on Saturday 18th July:- Julian Maynard-Smith, 19 July 2026
As always, I will be on the lookout for the professional critic's views in the event that any of them decide to write up this Pat Metheny concert!
I found the review from Aviva at Manchester on Friday night 17th July 2026. (It is a great venue...) Dominic Walsh, At The Barrier There are some very good photos from the set attached to the article.
Another review from The Barbican performance on Saturday 18th July:- Julian Maynard-Smith, 19 July 2026
Phaedra Ensemble: The Music of Meredith Monk
Kings Place
Thursday 17 September 2026 19:30 E10
Kings Place
Thursday 17 September 2026 19:30 E10
Steve Reich at 90: Triple Quartet
Purcell Room + After Dark
Saturday 26th September, 8pm A-23
Purcell Room + After Dark
Saturday 26th September, 8pm A-23
Steve Reich at 90: Music for 18 Musicians
Colin Currie Group
Newcastle Glasshouse
Saturday 3rd October 2026 7:30pm O-15
Colin Currie Group
Newcastle Glasshouse
Saturday 3rd October 2026 7:30pm O-15
Colin Currie Group: Steve Reich Celebration
Barbican
Wednesday 28th October 2026 Level G Door 7 Row: A Seat: 44
Barbican
Wednesday 28th October 2026 Level G Door 7 Row: A Seat: 44
The Barbican
Friday 13th November 2026, 7:30pm A17
Joe Lovano, saxaphone
Melissa Aldana, saxaphone
Nduduzo Makhathini, piano
Linda May Han Oh, bass
Jeff ‘Tain’ Watts, drums
Friday 13th November 2026, 7:30pm A17
Joe Lovano, saxaphone
Melissa Aldana, saxaphone
Nduduzo Makhathini, piano
Linda May Han Oh, bass
Jeff ‘Tain’ Watts, drums
Kronos Quartet
Queen Elizabeth Hall
Friday 20th November 2026, 8:30pm D32
David Harrington, violin
Gabriela Díaz, violin
Ayane Kozasa, viola
Paul Wiancko, cello
Queen Elizabeth Hall
Friday 20th November 2026, 8:30pm D32
David Harrington, violin
Gabriela Díaz, violin
Ayane Kozasa, viola
Paul Wiancko, cello
Manchester Collective: Black Gold
Purcell Room
Sunday 6 December 2026 6:00pm C-14
Purcell Room
Sunday 6 December 2026 6:00pm C-14
Site Updated July 2026 Felix Mottram