An energetic and adventurous evening balancing cinematic charm with gnarly intensity.
The Royal Liverpool Philharmonic Orchestra delivered a bold and engaging programme celebrating modern American composers, pairing the imaginative writing of Josephine Stephenson with the restless energy of John Adams. The result was a performance that felt ambitious and full of personality and something a little different from the traditional orchestra.
Opening the programme was In Time Like Air by Josephine Stephenson, a piece that immediately impressed with its sense of movement and colour. Energetic from the outset, the composition carried a whimsical quality that made it captivating. There was a lightness to the writing and a clear sophistication in the way different textures emerged and overlapped. At times, the piece felt almost cinematic, with passages that could easily have been a film score or the dramatic reveal in a television drama.
Stephenson’s writing proved highly accessible without losing complexity, allowing the orchestra to move between playful delicacy and more expansive, emotionally charged moments. It was the sort of contemporary work that reminds audiences modern classical music need not be intimidating. Instead, it can be vivid, imaginative and genuinely enjoyable.
Gnarly Buttons by John Adams, a work that initially appears disjointed but gradually reveals its own internal logic. Much like the title suggests, the music is intentionally twisted, difficult and full of sharp edges. Rather than flowing neatly from one idea to the next, Adams seems more interested in jolting the listener into attention, constantly shifting mood, pace and texture.
What first seems chaotic soon becomes compelling. There is a mischievous intelligence running throughout the piece, with Adams embracing unpredictability in a way that keeps the audience alert. Themes emerge, vanish and reappear in altered forms, creating a musical experience that feels slightly chaotic, it brings the word “gnarly” to life.
The performance built impressively toward a great explosive finale, with the orchestra fully embracing the work’s manic energy. Brass and percussion were particularly effective in these closing moments, delivering a thrilling sense of release after the piece’s deliberately awkward twists and turns. It was loud, bold and unapologetically dramatic in the best possible way.
What made the concert especially rewarding was the contrast between the two composers. Stephenson offered wonder, movement and cinematic charm, while Adams supplied something knottier and twisted. Together, they created a programme that felt adventurous without becoming inaccessible.
Overall, this was a highly enjoyable evening that showcased the versatility of modern orchestral music. Whether through the whimsical energy of In Time Like Air or the exhilarating chaos of Gnarly Buttons, the concert proved contemporary classical music can still surprise, entertain and occasionally leave listeners wondering what on earth just happened.