Tag: concert

FEATURE: One For The Boys Presents Love Life: West End Unites Against Cancer

Published on by Mark LloydLeave a comment

There is a unique kind of electricity that fills a theatre when the curtain rises not just for entertainment, but for a mission. This past week, the historic Theatre Royal Drury Lane played host to Love Life, a star-studded gala presented by One For The Boys that proved exactly why the West End remains the beating heart of London.

The atmosphere reached a fever pitch with the appearance of Nicole Scherzinger. Fresh off her Tony and Olivier-winning success, she brought a level of star power that was simply magnetic. One of the night’s absolute highlights was seeing her reunite with her Sunset Boulevard co-star Tom Francis. Their chemistry on stage remains unmatched, and witnessing them perform together again for such a worthy cause was a privilege for everyone in the room.

Adding to the vocal fireworks was the incomparable Carrie Hope Fletcher, whose powerhouse vocals and stage presence reminded us why she is a cornerstone of the British musical theatre scene. To see performers of this calibre, who usually headline their own massive productions,  was nothing short of incredible.

But beneath the sparkle, the soaring high notes, and the rapturous applause was a message of vital importance. One For The Boys is a charity dedicated to a silent issue: male cancer awareness.

In a world where men are often conditioned to “tough it out” or stay silent about their health, this event acted as a megaphone. The focus of the evening was clear: education, early detection, and removing the stigma surrounding male-specific cancers. Between the musical numbers, the audience was reminded that while the performances were world-class, the real goal was to save lives by starting conversations that are too often avoided.

Adding a powerful weight to the evening were the video interludes featuring global icons, most notably the charity’s Chairman, Samuel L. Jackson. His presence on screen served as a reminder of the cause, urging every man in the room to take their health seriously. The heart of the night, however, came from the charity’s founder, Sofia Davis. In a deeply moving and emotional speech, she shared the story behind One For The Boys and how the loss of a dear friend’s brother to cancer inspired her to take action. Hearing the “why” behind the sparkle of the West End made the mission feel incredibly personal.

There is something deeply moving about seeing the theatre community mobilise. Alongside Nicole, Tom, and Carrie, we were treated to performances from icons like Giles Terera, Ramin Karimloo, and Lucie Jones, all backed by a magnificent live orchestra. These performers, many of whom are juggling grueling schedules, came together to donate their time and voices. 

One For The Boys was a spectacular reminder that entertainment can be a force for profound change. It was a night of glitz and world-class talent, but more importantly, it was a night of hope.To learn more about the campaign and how you can support male cancer awareness, visit One For The Boys.

REVIEW: The Van Morrison Alumni Band

Published on by violethowsonLeave a comment

Rating: 4 out of 5.

A confident tribute that explores the range of Van Morrison’s music with soul and clarity.

Opening last night at the Emerald Theatre, a venue new to me,  was the Van Morrison Alumni Band: a tribute act to the beloved musician’s greatest hits (I’m aware the word beloved suggests a posthumous tribute but Van Morrison remains alive). Configured in the style of an old jazz club, from its architecture and foyer design to the purple and green tones of the lighting, the theatre has a distinctive atmosphere that feels removed from the everyday.

The evening offers a richly textured sonic experience drawn from Van Morrison’s eclectic catalogue. The band are elite musicians, all of whom have accompanied Morrison at various points throughout his career. Indeed, the professional intimacy of these musicians is such that, between them, they have played with the artist over 3000 times and amassed 600 recording credits with him. This intimacy is evident in their performances: this is not merely another gig for them, but a spiritual musical immersion. And one they share with the audience.

The evening covers a huge range of Van Morrison’s work, from the Healing Game to Days Like This (a standout, naturally). The singers inhabit the music of Morrison uniquely, each bringing their own spin to his work. Hayley Sanderson’s light soprano was gracefully married with Jess Greenfield’s earthy, more grungy vocal aesthetic. Wayne Hernandes was particularly fabulous, his voice rich with the kind of charisma that oozes. Leo Green, leading the orchestral charge, shone with his wonderful saxophone solos.

Everyone gets an opportunity to relish in this world of Van Morrison. From Robin Aspland on the piano to Geoff Dunn on the drums, the band is an electric masterclass in fusing adaptation with personal style.

The aesthetic choices complement the energy of this evening well, from the lighting to the décor, even to the configuration of the artists on the stage. The backing singers, Sophie Hiller and Tess Burrstone, also sparkle, their constant rhythmic bopping enchanting the stage even when they are not singing.

This is a soulful concert that celebrates the great diversity in the music of Van Morrison. The set moves confidently between familiar songs and deeper cuts, creating a strong sense of connection with the audience.

It goes perhaps without saying that to enjoy this evening deeply, you might want some connection or working knowledge with the music of Van Morrison. Having said that, much of his music can advocate for itself. Perhaps then, if you are not intimately familiar with Van Morrison’s repertoire, an evening with his tribute band could be an excellent introduction. 

Find out more details about their residency (and get tickets) here.

Credit as follows: © Glyndebourne Productions Ltd. Photo: Andy Paradise

REVIEW: Glyndeborne’s Messiah at Royal Albert Hall

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

delicate and precise

Transferred for one night only from Glyndebourne’s autumn season to the Royal Albert Hall, this Messiah under Aidan Oliver and the Glyndebourne Sinfonia (leader Richard Milone), with the Glyndebourne Chorus and soloists Soraya Mafi, Claire Barnett-Jones, James Way and James Platt, offered a strikingly intimate reading of Handel’s oratorio in a resolutely non-intimate space.

Before Glyndebourne, my sole understanding to Handel, especially Messiah, was quite Karajanian – grand, assertive and intense. This night refreshed my reading. Milone lead a Sinfonia that sounded lush, saturated and opulent, in stark contrast to Karajan’s metallic brightness that I was so used to. The playing was delicate and slightly sentimental, which matched Oliver’s conducting in a consistent way. On the way home with my friend, we discussed that even his gestures were notably gentle and tender as if he was tending a velvet carpet. This gave the sinfonia a soft and transparent texture going hand in hand with Handel’s dance rhythms and affective details. 

The chorus feels a little bit intentionally held back in a good sense. Their voices were carefully curated and dynamically controlled, offering a precise, nuanced texture. Even in the most climatic choruses (e.g. the Hallelujah when everyone in the hall stood up), it felt humanely joyful rather than overwhelmingly grandiose. Soprano Mafi’s voice was crystal-clear and pure. In the softer passages she leaned into a delicate light mix with uncanny evenness. Even in a venue like Royal Albert Hall, she mastered the art to let her voice linger in the air. Barnett-Jones, as mezzo, brought a complementary, modest energy: slightly weighted, but still carefully curated.

Tenor James Way sang with exquisite delicacy and nuance, sometime his soft timbre even shading towards an almost countertenor-like colour, deftly comforting. To support that exquisiteness, Bass James Platt offered his vocal depth in quality not quantity. He did not lean heavily into his chest resonance; thus, while his low notes were well-present and grounded, they never sounded over-pouring.

If you are already tamed to the Germanic aesthetics of the 1960s and 70s, this will be a challenge for you to refresh your reading of early Baroque music. You may feel reluctant and disoriented because the familiar Wagnerian weight of sonority has gone. In its place emerges a chamber-scaled world of transparency and rhetorical precision. This chamber-scaled sensibility, I reckon, would have worked even better at Glyndebourne’s own opera house rather than at the Royal Albert Hall that might be a bit “oversized”, and thus loses some focus on intimacy and fine engraving. However, for myself, I am so ready to go to Glyndebourne Opera House very soon.

REVIEW: Swing Into Christmas

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

This orchestra will definitely prepare you for the holidays.

Any opportunity to go to the Glasgow Royal Concert Hall is a treat and watching The Down For The Count Swing Orchestra was no exception. This collective return each year with their annual Swing Into Christmas concert. As a first time attendee, I was overjoyed with the atmosphere they were able to create!

The enthusiasm of The Down For The Count Swing Orchestra was infectious. Even just little things like the musicians swaying along in moments when they weren’t playing or the smiles on their faces kept the audience in high spirits. This orchestra will definitely prepare you for the holidays.

Sammy Davis Jr., Duke Ellington and Ella Fitzgerald are just a few of the titans whose songs you’ll hear that really capture the spirit of jazz in this Christmas concert. “White Christmas” and even “Zat You, Santa Claus?” are on a set list well curated to provide a mix of jazz, swing and Christmas that will cater to everyone. The most awe-inspiring song of the night goes to “It’s Beginning To Look A Lot Like Christmas” sung by vocalist Lydia Bell. This was no simple rendition as it was performed in fast-paced 7/4 time. There is barely a glimpse of a moment for the individual singing to breathe and Bell’s breath control is exceptional. Her ability to remain conscious and not pass out during this song is a true feat. 

Saara Kaldma didn’t shy away from excellence herself and only got better with every song she sang. Her rendition of “Angel” could have convinced me she was one and was easily one of the highlights of the evening. She excelled in those quieter songs where it felt like she was having an intimate moment with the audience. I look forward to hearing her heavenly voice in future concerts. 

Marvin Muoneké brought the stage to life with the enthusiasm to which he took to everything he did. Any time he made his way onstage, did a little jig during an orchestral moment, teased the conductor, he brought the audience in on his fun. It’s clear this is a performer who loves what they do and does it well. Aside from being one of the happiest singers I’ve ever seen, he has a voice smoother than velvet. Muoneké provided a lot of highlights including “Mr Bojangles”, a song which he clearly mastered over the years but my personal favourites of his were “What A Wonderful World” and “You’re Sensational”. His voice just sets the listener at ease, an underrated quality in any performer as it’s really the thing that draws an audience in and makes them return to hear it all over again.

This orchestra is full to the brim with superb musicians. This was probably demonstrated best in the songs requested by audience members, some of which they had no time to prepare for and had to sight read. If the composer hadn’t mentioned it, you would not have been able to tell as they sounded beautiful and these were perhaps some of the best examples of true jazz. It felt like everyone had their moment to shine and there were points where some musicians would chime in and add their own flavour if they felt it was right. While I can’t shout out every musician in this collective (as the composer so thoughtfully took the time to do before the evening ended), Alex Clarke deserves a special mention. No jazz collective worth their salt lacks a strong sax player but Clarke’s dedication was undeniable, especially when recreating music note by note without any sheet music. A quick nod also to the inclusion of tubular bells in this orchestra as it just isn’t Christmas without some tubular bells. 

Whether you’re there for jazz, swing, Christmas vibes or all of the above, this group has you covered. The performers infuse passion into every number and ultimately, seem to be having a wonderful time doing it. Live music would be nothing without the people behind it and neither would Christmas. They have fully embodied the spirit of the season and I look forward to seeing them again in the future.

The Down For The Count Swing Orchestra sound amazing and make you feel even better. They brightened my week and they’re sure to brighten yours.

REVIEW: BBC Proms – Beethoven’s Ninth

Published on by jonathangbLeave a comment

Rating: 4 out of 5.

Luisi and his Danish forces offered a remarkable evening: a seamless dialogue between the new, the  recent, and the timeless. 


The BBC Proms have long been a showcase for both the monumental pillars of classical repertoire  and the adventurous voices of contemporary composition. Thursday night’s concert at the Royal  Albert Hall, led by Fabio Luisi with the Danish National Symphony Orchestra and Concert Choir,  encapsulated this dual spirit. The programme journeyed from the hushed landscapes of Bent Sørensen  to the grandeur of Beethoven, with Anna Clyne’s recent work providing a poignant middle ground. 

The evening opened with Sørensen’s Evening Land, and from the very first bars, the piece unfolds  almost imperceptibly – drawing you in rather than grabbing you by force – growing from near silence  into something vast and strange. The strings unfurled with beauty, their motifs building up to a climax  that is never conceived – daring and brave. What impressed most was Sørensen’s ability to draw the  audience into his sound world – quiet, patient, and original, nothing predictable about it. As an  opener, it worked brilliantly, commanding attention through restraint rather than bombast. For me,  this was the most moving work of the evening, a reminder of the sheer power of subtlety in orchestral  writing. 

Anna Clyne’s The Years followed – a symphonic meditation on the passing of time, written with  chorus and inspired by the isolation of the COVID-19 lockdown. With text by Stephanie  Fleischmann, the piece combined epic scale with intimate reflection, with which The Danish Concert  Choir rose magnificently to the challenge. Shimmering textures and colours combined with large scale structural clarity cement Clyne’s reputation as a modern master of the orchestral idiom.  

After the interval, the full weight of tradition descended with Beethoven’s Symphony No. 9 in D  minor, ‘Choral’. This iconic work remains a formidable test for any orchestra, and under Luisi’s  direction – who conducted it by memory, without a score – the Danish National Symphony Orchestra  struck a balance between precision and passion, in an interpretation that was clear, focused, and full of  momentum. The opening movements are remarkably forward-thinking masterpieces clearly written by  a composer still at the peak of his powers, but of course, all roads lead to the choral finale. Soloists  Clara Cecilie Thomsen (soprano), Jasmin White (contralto), Issachah Savage (tenor), and Adam Pałka  (bass) delivered commanding performances during the final ‘Ode to Joy’, blending seamlessly with  the choir in a climactic vision of joy and optimism. 

And yet, for all Beethoven’s monumental brilliance, it was Sørensen’s Evening Land that lingered in  my mind as the night’s true highlight. Its originality, its quiet daring, and its delicate beauty set it  apart. 

One unfortunate blemish on the evening was the behaviour of some audience members. Coughs  punctuated moments of quietude, and a handful of intrusive phone sounds broke the spell of the  music. At a Proms concert, particularly one being filmed and broadcast on BBC Radio 3, one would  expect greater etiquette. It was a reminder that even the best performances can be disrupted by lapses  in attentiveness. 

Still, Luisi and his Danish forces offered a remarkable evening: a seamless dialogue between the new,  the recent, and the timeless. If Sørensen’s work was about listening closely, Beethoven’s finale was  about sitting back and becoming absorbed in the orchestral grandeur. A fitting testament to the Proms’  enduring power.

The Proms 2025 runs until the 13th of September, when it draws to a close with the traditional Last  Night of the Proms.

REVIEW: HOLST’S THE PLANETS

Published on by gracewallisLeave a comment

Rating: 4 out of 5.

Holst’s “The Planets” is one of those classics that is (if you love it) a banger every time. The London Philharmonic Orchestra’s powerhouse performance, conducted by Edward Gardner, at the Edinburgh International Festival was no different.

As I sat listening to the London Philharmonic Orchestra deftly make its way from Judith Weir’s leafy “Forest” (1995) to Rachmaninoff’s “Rhapsody on a Theme of Paganini, Op.43” (1934), and then finally to the titular event of the evening, I wondered why I continue to be so drawn to this seven-movement orchestral suite about planets. 

Indeed, whenever I see that Holst’s “The Planets” is playing somewhere near me, it’s enough to make me practically smack my hand down on tickets (and thank the gods for those under-30 discounts). A lot of my seat neighbors – almost universally older, wiser, and more smartly dressed than me – also wanted to know. 

Like anyone’s favorite piece of art, though, is it possible to describe why? I guess it’s just something about the way it makes you feel. And your willingness to feel something different each time you hear it, depending on what new coordinate you’ve gotten to on the map of your life.

Gustav Holst wrote this seven-movement orchestral suite between 1914 and 1917 while he was working as a music teacher in London (his work as a composer wasn’t paying the bills). Around that time, a friend introduced him to astrology, and he’d become fascinated by it. He got the idea to write something that would explore the effects each of the planets had on the human psyche. And that he did.

I first heard “The Planets” live inside London’s St. Paul’s Cathedral. I had just moved to London, far from home in California. The windows in the church filtered in the last of that day’s amber autumn light, and the air that hung just below the nave felt alive, perforated with some soft angelic quality only a church can bring into being. The whole piece was arranged for organ. I remember feeling so at peace that I thought Time must have vibrated to a restful standstill under the grand, gold-gilt dome to listen along with us. 

So when I opened the programme for this year’s Edinburgh International Festival, I knew where I would be the evening of Tuesday 5 August. 

Unfortunately, this was a one-night-only performance. (And, as such, I fear this has become more of a think piece than a review.) But if there is anything of value to depart, it is perhaps a reminder, in the middle of two festivals overflowing with new art, to go back to the pieces that made you feel something at some point in your past. You might be surprised, as I was by the powerhouse performance of the London Philharmonic Orchestra and conductor Edward Gardner, to find that hearing the same piece again returned something very special to my young creative cubbyhole. I’m already looking forward to the next one.

Holst’s The Planets is a part of the 2025 Edinburgh International Festival. Check out the Festival’s upcoming performances here: http://www.eif.co.uk

REVIEW: Anna Lapwood

Published on by fbalchinLeave a comment

Rating: 5 out of 5.

“A sensational, ethereal modern icon of the organ pulls out all the stops for her sold out solo show.”

A social media icon, it was only a matter of time before Anna Lapwood’s infectious charm and astonishing talent generated a sold out solo show at the Royal Albert Hall. Initially an Associated Artist, she was just named their inaugural Official Organist. Now, for her first production in that role, she performs alongside the incredible Philharmonia orchestra conducted by André de Ridder, as well as the Philharmonia Chorus and, rather sweetly, her own Pembroke College, Cambridge girls’ choir. 

The unofficial overarching theme, at least to me, was one of galactic wonder. The premise seemed to stem from the concept of time, space and contemplation.  The show opened with the spectacular Chevaliers de Sangreal from The Da Vinci Code, followed by a newly commission piece by Armenian composer Kristina Arakelyan, which felt equally cinematic in scale and style. This was followed by an effervescent piece by Hans Zimmer from Interstellar. The auditorium suddenly filled with sparkling lights, placing the historic Hall squarely into the futuristic starfield. It felt magical. Anna allowed not only her magnificent instrument, in all its Victorian glory to shine, but paid equal tender attention to soaring choral arrangements, smaller moments on the strings and lighthearted audience interactions. It felt like the aural equivalent of flowers blooming, delicately at first and then fervently, from Spring into Summer. 

She rather smartly introduced each piece with a brief explanation, letting the audience know what it meant to her and what the interpretation of the piece was about. This simple act, almost utilitarian in its execution, is something that I wish more performers of the abstract would offer their audiences. Straightforward and helpful, it allowed the audience to connect with the music so much more now that they understood, for example, that a dies irae motif was being used throughout. Context matters when forming individual interpretation. Finishing off with a cute combo known as “Catherine’s mash-up” based on a fleeting moment in an NYC coffee shop, the show ended with pieces from Lord of The Rings and How to Train Your Dragon. Finally the encore returned to another seminal Interstellar piece- No Time for Caution. Cue a well deserved lengthy standing ovation. 

Initially, I thought I wanted a more varied selection of music. I’m so used to having the mental bandwidth of a TikTok video that I thought the show should be played out like some sort of reels highlight. Anna deliberately chose to perform the pieces in full; all four movements of Cosmology by Max Richter in the first Act and the entirety of the Saint-Saëns Symphony 3 covering the whole second Act. It forced me to really pay attention, to listen to the changes in tempo, tone, timbre. It allowed moments of stillness and contemplation. It allowed soaring crescendos and orchestral boldness. But most importantly, it allowed me to feel. 

It’s impossible to dislike Anna. Her enthusiasm for spreading happiness through music is to be applauded. She meets her audience at their own level and takes them along for the ride. Even a birthday rendition from the entire Royal Albert Hall to her grandma Audrey who was sat in the audience was a sweet personal touch that despite being grand connected her to us. 

Ultimately, this is a stunning, stirring presentation of Anna’s talent. Her dedication to showcasing an overlooked instrument is inspiring and the inclusion of audience interaction felt authentic. Her star is on the melodious ascendant, in a constellation of genuine joy. Catch her while you can. 

Performed at Royal Albert Hall on 15th May 2025.

REVIEW: RRR in Concert

Published on by rinreolusolaLeave a comment

Rating: 5 out of 5.

An epic film, a live orchestra, a truly unforgettable cinematic event.

On Sunday 11th May, the Royal Albert Hall hosted a live screening of S. S. Rajanouli’s ‘RRR’, accompanied by the Royal Philharmonic Concert Orchestra. Originally released in 2022, the performance commemorated the ripple effect that the film has inspired both within Telegu cinema and internationally.

‘RRR’, translated in English to ‘Rise, Roar, Revolt’ is a three-hour epic, set in a fictionalised 1920s India, where the British Empire have occupied the country and are oppressing the native Indians. The film follows our two leads, Rama and Bheem, as they demonstrate enormous strength and resilience in their fights against colonial evil.

The film adopts an almost indulgent aesthetic, with many shots emphasising the beauty of the fictionalised landscape. With smooth, vibrant and stylised cuts, delicious melodrama and a live orchestra fully immersing us in the story, we are transported to new emotional heights.

During the three hour running time, no plot point is without significance and the film is paced remarkably well. We don’t just get the perspectives of both of our leads, but the story blossoms across the running time and what bursts forth is a truly resonant message of courage, rebellion and community. ‘RRR’ appeals to the very foundations of impactful classical storytelling; heroes and villains, friendship and love, freedom and bondage, brutality and tenderness, humour and heart, with an incredible sense of emotional resolution that demonstrates the importance of friendship. Steeped in mythical significance, we see empowered Indians rebel, roar and riot with the weapons they had all along – their shared culture, their community and their unrelenting
spirit.

One cannot review this film without mentioning the stellar performances of the leads, Ram Charan and N.T Rama Rao Jr. They portrayed Rama and Bheem, fictional imaginings of impactful Indian revolutionaries, also nodding to powerful Gods of Indian mythology with their superhuman strength. Within the first fifteen minutes, we see Rama fighting off hundreds of men, whilst Bheem kills a tiger. Fire and water imagery are expertly employed, a strong sense of symbolism that anchors us throughout the film. Both actors show astounding physical and emotional capability, accomplishing the difficult feat of balancing large scale stunt work, entertaining dance numbers and a sense of nuanced interiority in their performances that brought the audience to tears.

Special mention of course goes to the ‘Naatu Naatu’ number, a song which has won numerous awards, composed by M.M. Keeravaani. It is a rousing sequence in which Rama and Bheem show their superior dance ability in a British high society party. It is clear why the song won an Oscar for Best Original Song! The film was also nominated for Golden Globe and won two Critics Choice Awards and six National Film Awards, making it a cultural touchstone in international cinema.

During the pre-show talk, hosted by Ashanti Omkar, S. S. Rajanouli asserted that ‘art will
supersede anything else’, and this film is certainly a testament to that. The panel discussed the film’s worldwide impact, and that although it takes place in a fictional reality, it showcases aspects of Telegu culture and has a pivotal role in bringing together people across the Telegu and Indian diaspora.

‘RRR’ also evidently stands for the Rousing, Rip-Roar made by the audience during the film, who gave completely deserved minute-long applause throughout. ‘RRR’ is a feast for all audiences, and together with the musical stylings of the Royal Philharmonic Concert Orchestra, it was a truly unforgettable cinematic event.

Lord of the Rings Return of the king screening with orchestra at the RAH.

FEATURE: The One Event to Rule Them All: The Lord of the Rings Trilogy Comes to Life at the Royal Albert Hall in 2026

Published on by Tabitha JamesLeave a comment

In a momentous celebration marking the 25th anniversary of The Fellowship of the Ring, the Royal Albert Hall will host an unforgettable cinematic and musical journey—The Lord of the Rings Weekender. For the first time ever in the UK, fans will be able to experience the full Lord of the Rings trilogy in one epic weekend, with each film screened in HD on a massive 40-foot screen as Howard Shore’s legendary score is performed live by the London Philharmonic Orchestra.

Taking place as part of the Hall’s renowned Films in Concert series, this once-in-a-lifetime event immerses audiences in Peter Jackson’s Oscar-winning epic like never before. The trilogy will be performed back-to-back twice: from Thursday 30 April through Sunday 3 May 2026, and again across the weekend of 9–10 May 2026.

Composer Howard Shore, whose sweeping score helped define Middle-earth for millions, expressed his excitement:

“This music remains one of the creative high points of my life… The chance to experience the scores for all three films live, and played by the London Philharmonic Orchestra, will be a truly memorable experience.”

The Lord of the Rings Weekender is not just a film screening—it’s a fully immersive experience celebrating one of cinema’s most ambitious and beloved trilogies. With 17 Academy Awards® and countless fans worldwide, The Lord of the Rings continues to captivate, inspire, and unite generations.

Royal Albert Hall’s Director of Programming, Matthew Todd, noted:

“Howard Shore’s incredible score for The Lord of the Rings was the driving force behind the very first Films in Concert event. It’s thrilling to bring the trilogy together for a full weekend of immersive storytelling and music.”

Alongside The Lord of the Rings, the Hall also announced the return of Home Alone in Concert—another holiday classic featuring John Williams’ unforgettable score—scheduled for 13 December 2025.

Tickets for all Lord of the Rings concerts go on general sale Friday at 10am, with early access for Royal Albert Hall Friends and Patrons available 24 hours prior. Trilogy package discounts will be available.

REVIEW: 21 Spices with Trilok Gurtu

Published on by John RichardsonLeave a comment

Rating: 5 out of 5.

Songs as rich as entire albums, come see a master at work and leave without words to describe it

You know a solo is good when you audibly mouth “what the …” enough times to your friend next to you, to the point where your mouth runs dry. Yet over the course of an evening, Trilok Gurtu flung my expectations round like a yoyo, endlessly surprising me and honestly being one of the most impressive musical performances I’ve ever seen.

As soon as you walk into the venue you see his unique drum kit setup almost drowning him in equipment. This included a western drum kit, traditional Indian table drums, a bucket of water and a selection of various small handheld instruments. If that seems like a pretty wild, range of instruments just wait to see how he uses them.

From minute one to the end, you’re completely entranced by licks that never quite end in the way you expect, polyrhythmic drumming that seems inhuman to perform, and songs as rich as whole albums in structure. While Trilok’s solos are clear showcases of his virtuoso talent, often lasting more than 3-4 minutes of the most complex drumming I’ve ever seen, the entire songs (performed by Scottish national jazz orchestra, who seemed to be enjoying playing as much as the audience did watching) were incredible advertisements for the appeal of fusion jazz.

You could never predict the structure and what came in the next bar, but when you got hit with an unexpected rhythm or time signature change it just sounds so obviously brilliant. Jazz is known for it’s surprising compositions but Trilok takes that to a level I hadn’t encountered at jazz clubs in London, Edinburgh and abroad. His mastery both of playing, and composing both for himself and an entire band is astounding and I can’t even pick a favourite song of the whole show.

Perhaps it is one wherein he builds a story starting off with small handheld percussion instruments he plays as they sink into a bucket of water, before raising the composition with a thundering herd of drums. Perhaps it is the titular 21 spices that encompass a musical journey as varied and packing as much of a kick as the name sake spices. Perhaps it is just any of his solos with his tabla drums that gave my wrists pain just looking at him play. I won’t tell you which because I could never decide, but you really should find out for yourself. Trilok has given me one of the best evenings of music I’ve seen yet.

Go and see a master at work, if you have ears to hear, you will leave lost for words.