Music Reviews

AN AFTERNOON OF SONGS - Katja Ebrigens and Jonathan Ellis

Tucked beneath the Crescent Hotel lies an intimate venue with superb acoustics — the perfect setting for an unexpectedly magical evening of music. Originally a last-minute replacement due to a cancellation, this performance by Katja Ebrigens and Jonathan Ellis proved to be a hidden highlight of the festival, ahead of their scheduled show on 18th July.

The evening began with Jonathan Ellis at the keyboard, serenading the arriving audience with his masterful touch. His playing instantly set the tone: relaxed, refined, and full of promise. Rosie the Cleaner opened and closed the show with charm, wit, and a dusting of song — ensuring the venue, and the audience, were well-polished.

Between Rosie's appearances, the audience was treated to a blend of classical brilliance and musical theatre sparkle. Katja’s vocals were outstanding — crystal-clear in the soaring highs, and warm and resonant in the lower register. She moved seamlessly from the purity of Handel's Messiah and Schubert’s Ave Maria (Sung in its original German) to the pizazz of All That Jazz and the emotional power of Memory, from Cats.

Jonathan not only accompanied but also took centre stage with solo piano works by Schubert and Chopin, playing entirely from memory with effortless finesse. His musicality was a joy to witness — fingers flying yet never rushed, always expressive.

The show opened and closed with Disney favourites — When You Wish Upon a Star and The Bear Necessities — a light-hearted frame for a rich and varied programme. By the end, even Jonathan joined in on vocals, quipping, “You can see why I sing for fun and play for money!”

A delightful evening, warmly received. Don’t miss their next performance on the 18th — they truly deserve a full house.

Darren Finn-Hurst

BE BEGUILED! - High Peak Orchestra

The celebratory atmosphere of Carnival Day with the Lancaster flypast, continued in the welcoming cool of St John’s Church with the trumpet fanfares opening of the Orb and Sceptre Coronation March by William Walton. He had already written the Coronation March Crown Imperial for George VI in 1936 and was commissioned to write a ceremonial march by the Arts Council in 1953 and dedicated to Elizabeth II.

It made a wonderful opening to an exhilarating concert. Under conductor Patrick Gundry-White, we were treated to a full orchestral sound as a second melody was introduced, which – according to the informative programme notes - the Times critic of the day considered to ‘lift up the hearts in homage and thanksgiving’.

Simon Twigge then joined the orchestra for Richard Strauss Horn Concerto No 1. Written when only 19 as a tribute to his father Franz Strauss, who was principal horn in the Bavarian Court Opera. The work explores the full capabilities of the instrument. Accomplished playing by tonight’s soloist met these demands with strong, declamatory themes reminiscent of the hunting horn, extremes of range and gentle lyrical passages.

Many of High Peak Orchestra’s concerts are in aid of local charities and tonight’s concert was in support of Blyth House Hospice Care and after the interval we were informed of much of their work.

The highlight of the evening was Scheherazade Symphonic Suite by Rimsky-Korsakov, especially the excitement of the last movement.

Inspired by Scheherazade’s tales of shipwrecks, princes and princesses in love and monsters, Rimsky-Korsakov wanted to create an impression of these oriental fantasies rather than actually tell the stories. He achieves this with rich orchestration - the orchestral forces were augmented with harp, piccolo, contra-bassoon and no less than 5 percussionists.

There is a recurring theme on solo violin, played by leader, Luke Johnson, representing Scheherazade herself which appears in all four movements. Other soloists were recognised after the appreciative audience’s rapturous applause.

High Peak Orchestra has regularly appeared in Buxton Festival Fringe for more than 20 years and we look forward next year’s contribution as they celebrate 50 years since the original North West Co-Operative Orchestra was formed.

Carol Bowns

BEST OF STAGE & SCREEN WITH BURBAGE BRASS BAND - Burbage Band (Buxton)

A wonderful evening of great music performing to a full house - a testament to their enduring popularity. For musicality, technique and disciplined coordination in the brass band world, it doesn’t get much better than the Burbage Band.

As it says on the can, the programme for tonight’s show was drawn from the rich catalogue of tunes written for stage musicals or films. Opening with ‘Lay all your love on me’, an ABBA original incorporated into the stage show then the film ‘Mama Mia’ , the arrangement was an ideal choice with an exiting fanfare and driving rhythm.

The next number written by Brian May of Queen - ‘who wants to live for ever’, from the film ‘Highlander’ a scenario played out in which the protagonist is immortal and on a mission. The piece has a dramatic start with basses holding some very quiet long notes played with suitable restraint by the unseen guys on the back row building an atmospheric foundation. I guess there is risk that if these giants of the brass family play too quietly the note drops out altogether. No fear of a collapse from the Burbage bass section a sign of mastery to control the instrument at the extremes of their dynamic range. Full marks to the back row - Michael Crookes & Nick Gratton on Bb’s and Hannah Pollard & Esther Pollard on Eb’s

Ashley Stillburn makes a guest appearance starting with the theme music from Casino Royale a more contemporary of James Bond films. Ashley has an established career as a veteran of leading roles on London’s West End stage. His rendition of ‘You know my name ‘ is characteristically Phantomesque, a style with which Ashley is clearly comfortable though which for most vocalists would present an impossible challenge to interpret with Ashley’s panache.

The next piece was the theme from an earlier James Bond ‘Diamonds are forever’ though on the big screen a Shirley Bassey party piece, sounds brilliant in the hands of Burbage band. An ethereal start with deliberate full chords stitched together by a neat running passage on the glockenspiel. The haunting melody was solo’d out of the lovely arrangement, played with tasteful intonation by the band’s led cornet, Carl Gartside. There is plenty for the 3 percussionists to strut their stuff throughout tonight’s programme from the subtle tinkle effects to the Chinese gong, always a solo and very James Bond. Well played to the sensational percussionists Andrea Needham & Kate Rennie with Will Rhode on the kit drums. The section put the icing on the cake with consistent accuracy adding both lift and subtle punctuation to the show.

Few stage shows can beat the longevity of Les Miserables, holding prominence for 3 decades with many hit songs spinning off the show. The band’s arrangement of ’Take me home’ is an emotionally charged prayer. It’s moving melody beautifully interpreted by Laura Critchlow on the horn. The pathos of the piece develops as the whole band takes up the theme underpinned by a rising bass line and subtle tuned percussion.

Bethan Pollard brings a youthful innocence to portrayal of the role of Sandy, principal character from Grease. Her sweet voice and endearing delivery sit nicely fronting the sympathetic brass band accompaniment. The song, ‘Hopelessly devoted to you’, was commissioned from a different composer to the main score as an add-on to the screenplay to show case Olivia Newton-John who in my humble opinion struggled to act youthfully and definitely couldn’t pretend to be innocent; at least she could speak without faking in her normal Australian dialect. If a similar situation arose again, the casting producer would be on safer ground giving Bethan a call to partner John Travolta’s successor.

Bethan is no stranger to the musical theatre, being heavily involved in local youth groups and is a passionate and talented performer. We wish her well in the next phase of her musical journey developing as a vocalist in addition to the trumpet from the family base at Burbage.

The theme from ’70s film for ‘Born free’ became a household echo in the day, the idea of rescuing lion cubs a template of hope for the world. Tonight’s version is a deceptively challenging arrangement to play and one of those situation if played very well sounds simple. But without close attention to detail and a generous dose of talent in the ranks, the outcome can be a shambles. No problem with the Burbage performance. The sneaky and fiendish euphonium cadenza at the start didn’t go unnoticed; no problem for the virtuosic Sam Pollard as a lead in to his 1st statement of the main melody. The drama of the piece built as the arrangement expanded in complexity…all very ‘John Barrie’, composer of the film score. The full band captured the grandeur and optimism of the moment.

From the musical ‘Hairspray’ the catchy tune ‘Just Can’t Stop the Beat’ is a lively piece with an infectious uplifting rhythm. Plenty of action inciting not just toe-tapping but in the Burbage interpretation requiring audience restraint from leaping out of their seats and dancing in the aisles.

Nathan Gratton who has been with the band since junior days played the solo cornet in a lovely arrangement of Summertime demonstrating his sweet and rounded tone and in complete control of tuning in the high register; surely an inspiration to all who dare to aspire to play this melodic instrument.

Ashley Stillburn returned to the stage with ‘Sit down you’re rocking the boat’ from Guys and Dolls. The symbolism in the narrative lyrics was conveyed with absolutely clear diction and appropriate expressive movement. The swing feel, not always 'felt ' in brass band arrangements was pitched just enough to give the flavour of the genre.

A brass band concert on the theme of film scores would be incomplete without a number from ‘Brassed Off’, a classic about industrial relations, closure of the coal mines and the social effect on the surrounding community, all played out in the fortunes of the colliery band. An essential number from the film ‘Cancerto de Aranjuez’ was solo’d by Josh Tournier another off-spring of the Burbage family. An evocative sound of Josh’s flugelhorn and his controlled rounded tone created a tranquil mood yet with a poignancy which defies words. The whole ensemble milked the emotions, though one wonders whether some of that could be in the mind of the educated listener recalling the symbolism written into plot in the parent screen play. The Burbage band apart from playing the notes with accuracy and style, are somehow evoking memories of the film itself.

With Ashley Stillburn in the cast and Bethan Pollard ably following in the footsteps of the many leading ladies previously performing the role, an opportunity to run ‘All I ask of you’ could not be passed up; the classic duet in which the Phantom of the Opera pleas in vain to Christine not to walk away. Clear intonation form both singers captures the emotion of the piece.

For a finale of the concert of film music what could be a better choice that something from the John Williams catalogue? The theme to the 7th picture of the ‘Star Wars’ series, the sequel ‘the Force Awakens’ . After a restrained intro comes a fanfare and the body of the piece is a complex arrangement of heroic and reflective parts. From a musical point of view the whole piece, whilst exciting and entertaining has the ingredients of a contest test piece. Not for the faint-hearted to tackle, there are tricky passages for all sections of the band to get their teeth and plenty of pitfalls. To get the work to hang together in a smooth run is underpinned by accurate entries. No one is let off lightly including the percussionists. The band discharged duty magnificently and technically ‘The force awakens’ was highlight for me, saving the best for the end!

The man in the limelight, maybe with a bow to his string (an entertaining faux pas to prove he’s not a robot), is Steve Critchlow who like several of the key players a childhood product of Burbage band and has taken the role of MD for 40 years! Steve is certainly an inspiration holding the band together and obviously much of his work is done in rehearsal and training. On the night he provided excellent introductions to the pieces. Fluent commentary with just the right balance of contextual information and a relaxed repartee for engaging continuity.

Individual soloists of course submit themselves to the pedestal to be pilloried and tonight there were definitely no falls from grace. It has to be said that the tutti sections and passages which to some may seem like filling the accompaniment were not neglected. The band was in tune and playing together with creditable attention to expression.

Brian K W Lightowler

BIG BAND BREWERY BONANZA - High Peak Big Band

High Peak Big Band set Buxton’s packed Trackside bar swinging tonight as it grooved its way through a lively programme of jazz and musical theatre favourites.

The Buxton Brewery taproom made an intimate and atmospheric venue, with its stunning views of the surrounding countryside. It was standing room only as the band opened with Riverside Drive, then launched into a string of familiar numbers including The Look of Love, Fever and Deed I Do, all featuring talented jazz singer Jules Scott. Her smooth, mellifluous voice carried the melody, hitting the high notes – and adding a touch of cheeky humour between songs.

Complex harmonies and syncopated rhythms were driven with verve by the 20-piece ensemble – featuring a rhythm section of keyboard, guitar, drums and double bass alongside trumpets, trombones and saxophones. And the audience was happy to join in with off-beat clapping and finger-clicking.

Star of the show was accomplished musician Brian Lightowler, who somehow managed to play piano and serve as sound engineer while also jumping up to introduce each number and conduct the band with his distinctive baton… a wooden spoon complete with smiley face!

Many of the musicians impressed with solos during the evening, so it’s hard to single out any one. But bass trombonist Peter Boxall wowed the audience, not only with his playing, but also by stepping up to sing alongside Jules in two numbers, and – his speciality – to croon, Sinatra style: You Make Me Feel So Young.

The evening finished aptly with Show Me the Way to Go Home and an encore of Sweet Home Chicago, featuring Jules and a soloist from each section.

Altogether, a feel-good evening with a big band and a big sound… but maybe a bigger venue would give their music more room to resonate.

Lesley Caddy

BOB HALL & HILARY BLYTHE - Jazz ('n' Blues) at the Junction

Acknowledged as Britain’s premier boogie woogie pianist, Bob Hall has an illustrious career, featuring alongside some of the music industry’s biggest names – from Chuck Berry and Jimi Hendrix to Charlie Watts, Peter Green and Mick Fleetwood. Tonight he brought that magic to Buxton, playing with his wife and stage partner Hilary Blythe: herself an accomplished folk singer and musician.

The duo were stars of Jazz (& Blues) at the Junction, a regular date at High Peak Bookstore & Café and this month part of Buxton Fringe. It was a welcome change for them too: 'We’re really excited to be here tonight because there’s just two of us,' Bob told the packed audience. 'After years of backing other singers we have a chance to play our own music!'

They launched into ‘50s R&B classic Play Me Some Loud Music – with Bob on keyboard and Hilary on guitar and vocals – and that set the tone for the evening. The appreciative audience grooved along to a programme that combined soulful blues and lively, syncopated boogie-woogie, with folk, country and even gospel, all interlinked with good-natured banter and entertaining anecdotes... like the one about how Bob bought all Chuck Berry’s albums and learned every song after being booked to accompany him on tour – which turned out to be just as well because the maestro never decided until he was onstage which numbers he would play, or in what key.

Hilary took her share of the spotlight too, taking the lead on folk numbers including How Beautiful Upon the Mountains, with Bob on mandolin, and gospel-inspired Let the Light From the Lighthouse Shine on Me – with the audience encouraged to join in.

Highlights of the evening included Bill Haley’s Rock This Joint Tonight and the finale: I Can’t Get My Arse In Gear!

There was also an interval bonus when Bob’s long-time friend, Ten Years After drummer Ric Lee, stepped up to be interviewed about his life from Woodstock to present day.

Altogether a great night of excellent music, entertaining tales and feel-good vibes.

Lesley Caddy

CHAMBER DELIGHTS - Cheshire Chamber Collective

The mix of semi-professional and amateur musicians that form the Cheshire Chamber Collective returned with their wind and strings to Buxton Festival Fringe. Past repertoire includes standards from Beethoven and Schubert, however the programme presented at The Palace Hotel on Friday 11th July was considerably more adventurous, focusing on music from the late 19th century onwards. This was enhanced in the second part with a snapshot of the rich variety that American music has to offered.

Opening with five pieces of 'Kleine Kammermusik’ (‘small chamber music’) by Paul Hindemith - a German (then) American composer and music theorist who, like many artists went to the US to escape the difficulties of the Nazi regime. With echoes of Stravinsky and Bartok, these pieces set the evening’s theme.
A ‘Pastorale’ from the French composer Gabriel Pierné was more melodically impressionistic - with hints of Debussy, expressed to good effect by Chamber Collective’s wind section echoing the piece’s lilting themes.

After this music for a lazy summer afternoon, we were roused by Richard Wagner’s ‘Siegfried Idyll’ – originally written as a surprise awakening for his wife’s birthday celebration on Christmas Day, but later renamed for his youngest son. It was all hands on strings and wind for this piece – and there was no way anyone would have slept through this, even on Christmas morning. In some ways the Cavendish Room didn’t serve this piece as well as it deserved, as the longer and larger notes didn’t have enough space to travel; although the acoustics were well-suited to the rest of the repertoire.

After the break we were firmly in modern American territory, no pun intended, for Terry Riley’s ‘Sunrise of the Planetary Dream Collector’. ‘Minimalist’ always strikes me as an odd way of describing music that is so rhythmically complex. Its bars of 14-crochet ‘lego-blocks’ were built by members of the Collective into an thoroughly absorbing experience – certainly to my personal taste.

‘Two Sketches Based on Indian Themes’ by Charles Griffes harked back to a more traditional era of American folk romanticism – and it’s clear to hear how this sadly short-lived composer's music influenced the likes of Aaron Copeland. Another switch in tone delivers the grating strings that underpinned one of Hollywood’s most nerve-edging thrillers: Hitchcock’s ‘Psycho’, scored by composer Bernard Herman, arranged for a smaller ensemble by Richard Birchall and played to good effect by the Cheshire Chamber Collective who managed to temporarily and terrifyingly transform the Palace Hotel into the Bates Motel (I hope nobody was taking a shower in the rooms above!).

Those who made it out alive were rewarded by a trip to the bright lights and familiar jazzy territory of George Gershwin and ‘Preludes for Piano’, played without a piano but arranged exclusively for strings and wind. And finally, a light step into Vincent Youman’s ‘Tea for Two’ from the film of the same name, inspired by the 1925 musical ‘No, No, Nanette’.

For this year’s Buxton Festival Fringe The Cheshire Chamber Collective is delivering a programme refreshing in its selection of 20th Century music - with familiar and unfamiliar pieces considerately combined to provide a fascinating and enjoyable evening of musical entertainment.

Curtis Bollington

CHRIS MILNER - JOURNEYMAN - Chris Milner

Journeyman Chris Milner lived up to his name in Buxton tonight, taking his audience on a musical tour around the globe – from County Durham to Palestine and back again.

It was a journey through his life as well: from childhood, when he bought his first guitar for £37; through his early days as a folk singer and his first solo performance, at work; to retirement and the chance to look back and appreciate it all afresh after more than 50 years in the music industry.

Chris, a seasoned star of the folk scene, was back on stage at Buxton URC, where he has become a Fringe favourite in recent years. New for 2025 is a set of fancy stage lights, which throw out a golden glow, highlighting his intricate fingerwork and facial expressions.

From the opening notes of his performance, the smooth, sonorous tones of both guitar and voice had the audience gripped. The journey began with The Aftermath – a sardonic response to the Covid pandemic – before going back to Chris’s roots in Chester-le-Street.

As a youth worker and an active supporter of good causes worldwide, Chris has a wealth of experience to draw on and he does it with poignant effect. His songs tell stories of meetings with African women and a starving child in Palestine, as well as happier tales of his own family and his beloved Yamaha guitar.

Active participation was encouraged and the teatime audience was happy to oblige, despite being light on numbers. Hopefully there will be a bigger turnout for tonight’s show (Saturday, July 19) when Chris is back at the URC with a capella singer Beth Burrows, with whom he has recently completed a tour in aid of charity Refuge.

Lesley Caddy

CLASSICAL GUITAR JONATHAN PRAG - Jonathan Prag Classical Guitar

On a hot summer's evening sitting against a backdrop of the beautiful stained glass window of the United Reformed Church, a musician and his acoustic guitar worked in perfect tandem to transport an assembled audience from Ireland to Europe and on to South America. A rich, diverse and varied programme of classical greats, as composed by musicians who have lived from the late seventeenth century to present time, provided a comprehensive variety of material to allow the award winning guitarist Jonathan Prag to showcase his indisputable skill and talent.

Commencing with the strains of Fernando Sor's Spanish style, and ending with the contemporary British guitarist Vincent Lindsay-Clark's 'Pulsar', Jonathan Prag treated his audience to recitals from composers such as the unmistakeable Johann Sebastian Bach and the Italian influenced Irish (blind) harpist-composer Turlough O'Carolan.

Jonathan offered a flawless rendition of the well known Francisco Tarrega's 'Recuerdos de la Alhambra' whilst introducing works from other Latin composers and even touching upon the melodic and relaxing blues style of George Gershwin. Each of his interpretations delighted more than the last.

Jonathan Prag has 5 more performances scheduled during the Fringe, on July the 12th, 13th, 18th, 19th and 20th. They come highly recommended .

Julie Alexander

DARREN, TRISH & THE FASCIST REGIME - Darren & Trish

Buxton Fringe audiences are used to seeing Darren Poyzer shows, as he’s been a regular performer since he started performing. He’s joined this year by Trisha Plant, and their new show partly came about to share how and why that came about, but no spoilers here. It’s also about their growing apprehension for our future, and their infectious optimism.

Darren’s songs are musically uncomplicated and readily accessible. These days, he largely finds a pretty catchy chorus, with a great turn of phrase – the elusive hook. I looked back a decade or so and found reviews referencing covers and some original songs – now it’s all originals for this show, barring the very final snippet. Given that Trisha has only been playing harmonica since earlier this year, her playing is musical and sensitive, with she and Darren matching dynamics nicely. Their banter is gently teasing and endearing.

Returning from a distant group of islands in 1982, an eighteen year old Darren wrote a poem, entitled ‘Aftermath’. In the last few weeks, an older Darren composed ‘Your War’, and performed it largely unaccompanied, with a short harmonica intro and outro from Trish. Arguably the most moving pieces in the show.

These were followed by ‘ A Baby Changes Everything’, ‘Keep Your Heart Sunny’ and ‘Manchester Window’. It’s his lyrics that are his secret weapon, moving, thought provoking and uplifting. Typical of that is the change in the refrain of ‘Keep Your Heart Sunny’ from ‘follow the money’ to ‘keep your heart sunny, my friend’.

Next came ‘Shout ‘em Down’, where he was joined by the young performers from Shadow Syndicate on the choruses. Shadow Syndicate return to the Fringe with their production of Dr Korczak’s Example, set in the Warsaw Ghetto of 1942. Darren and Trish’s show shares a message of tolerance and solidarity, in the face of hostility and violence. Hence the informal move from the show’s original title towards the unscripted ‘Darren, Trish and The Sound of Music’ (which also had something to say about intolerance).

They finished with ‘I Believe In You’ and a snippet of ‘The Sound of Music’, followed by an immediate, and richly deserved, standing ovation. They have a great rapport with the audience.

Darren and Trish have two further performances in Underground at Spring Gardens, Thursday 24th at 10-11pm and Saturday 26th at 5:30 to 6:30pm.

Ian Bowns

DAVE BERRY: 60 YEARS ON THE ROAD - The Man in the Hat Presents...

This event could easily have had any number of other labels: the man with the upturned collar, the man in black, the fan of mime who wanted to remain hidden whilst on stage and many more.

Enigmatic leather-clad pop star of the sixties, famed for the song The Crying Game, Dave Berry is not so much a national treasure, more part of our natural history. He's part of the foundations of the solid rock music scene still operating today. Solid rock foundations!

Having just lost Ozzy, we really ought to be more awestruck of pioneers like Dave, he's 84 and still rocking. Aware of modern music tools like Tik Tok and YouTube, he still loves a good two and a half minute pop tune and his favourite at the moment is crooned by Actress Judi Dench, Send in the Clowns - an old tune, but sung with feeling, and real tears too.

Walking the tightrope between unrehearsed chat and free-for-all questions, Dave was guided initally by hat-man David McPhie, fellow music fiend in 1950s' and 1960s' Sheffield. Then the lid was lifted.

They both knew all the movers and shakers back then, including Joe Cocker and session musicians like Jimmy Page, later of monster group Led Zeppelin. In fact it was Jimmy, as Dave recalls it, who suggested he record The Crying Game, undoubtedly his greatest hit. Initially, Dave didn't like the song's rhythmic style and sat on it for six months before recording it, but Jimmy said, "a good song is a good song, no matter if it is folk or jazz or blues or whatever style!" Or sung by Judi Dench perhaps?

As sharp as a pin and as charming as a favourite Uncle, Dave Berry always knew and still does how lucky he was to enjoy a career in pop music, he still speaks highly and favourably about it - go and hear him if you ever get the opportunity! Get your share of The Crying Game!

David Carlisle

DAZZLE CAMOUFLAGE - Midnight + The Patio Chairs

There was palpable excitement in the packed-out venue in anticipation of the first outing of a brand-new group from Macclesfield, the somewhat charmingly named Midnight and The Patio Chairs.

Five talented young people performed a tight set of 13 songs, all original pieces bar Champagne Supernova and America’s Horse With No Name. Their style was a mixture of folk/pop/ballad which really seemed to go down well with the 80-strong audience.

There was a virtuoso solo violin performance from band member Georgie Bloomfield, newly graduated from the Royal Northern College of Music. This was extraordinary playing but for me it didn’t quite fit with the rest of the set. It did get the most enthusiastic applause of the night though, perhaps because it was so different. Georgie’s playing throughout the rest of the set really complemented the rest of the band, adding a light dancing note throughout.

Milli Nixon-Chatterton fronted the band and sang her heart out. This was her first time in front of an audience I was told, and she did well, showing few nerves. It probably helped that there appeared to be a lot of support in the audience from family and friends.

Siblings Josie and Charlie Candlish on bass guitar, lead guitar and keyboard, provided a solid musical foundation and yet another music graduate, Alex Walton was very strong on drums and percussion. Alex’s ocean drum playing provided a moving and soulful intro to a song about a Tsunami survivor, Song For Martunis.

For a debut outing, this was a great start for a young and clearly ambitious group. A more experienced act would have tested out the venue’s eccentricities beforehand. The band played mostly on a darkened stage and the main house lights were switched on and off a few times as someone frantically tried to find the best setting. The sound mix varied throughout, and it was sometimes difficult to hear the song lyrics against the louder backing instruments.

For a band just starting out, some background info would have been helpful to the audience as well as some insights into their music and the stories behind the songs. Understandable though from a new group on their first outing. I’m sure they will go from strength to strength, and I wish them well.

Moira Kean

DESTINATION MOON - Basin Street Jazz & Blues

There are not many better places to be on a very hot Buxton evening than listening to cool jazz in the airy surroundings of Trackside at Buxton Brewery. Basin Street Jazz & Blues have a well-deserved reputation as one of the best bands in the area and this was another very enjoyable performance.

The band allowed their eclectic taste in Jazz and Blues to roam across the galaxy, taking in the moon, the stars and all things space, but leaving plenty of room for matters closer to home.

That meant that we got a good selection of the jazz standards, including a lovely rendition of Fly Me to the Moon (of course!) allowing each of the instruments to have their moment in turn, Adrian Sherwood’s groovy double bass, Brian Lightowler with some samba stylings on the keys, and a sultry sax from Mike Dale, all supporting the gorgeous vocals of Jules Scott.

Scott’s versatility had already been on show, moving from the light-hearted Coffee Song, where she had a lot of fun with the line 'I like you a latte' to the richness of Nina Simone’s Tell Me More and More and Then Some. Her phrasing is a joy to listen to.

The band have been moving towards including some more contemporary Jazz in their repertoire, and some of those songs proved real highlights in the set, such as their sexy version of Talkin’ All Under My Clothes by Angie Wells, while the recent duet, The Art of Conversation, allowed us to hear a little of Sherwood’s voice as he sang the first verse and joined Scott in the choruses.

There was still plenty of time for a stirring rendition of Etta James’ Damn Your Eyes, a cute Dream a Little Dream, and the very French Coucou which allowed Lightowler to flourish his accordion. Basin Street Jazz and Blues are not to be missed and you can avoid that by getting to see them next Friday at the same time and place.

Stephen Walker

ECHOES OF ART AND EARTH - KEMS Contemporary Ensemble

The Contemporary Music Ensemble is one of four groups who are part of KEMS, formerly King Edward Music School in Macclesfield. This group of ten musicians and conductor who relish the challenge of playing music that is constructed differently presented eight pieces by seven composers.

The first piece, by Mark Hendriks (1971) took us on a soundscape tour of The Miraculous World of Hieronymus Bosch paintings. Three Way Piece by Robert A Howard (1977) was an exploration of the fluid solidity of Henry Moore sculptures. Eleanor Alberga’s Glacier (1949) gave the experience of being a massive natural form in constant friction; fracturing, moving within itself, cracking yet remaining. Five by John Cage (1912-1992) was performed by 5 musicians and lasted 5 minutes. The Illusion of Progress was Howard Jones (1948) interpretation of an Escher staircase with the rhythmic tread going up and down, round and round, but never reaching a destination. The conductor, Julia Harding said that the Jones piece was quite different every time they perform it. Two pieces from Suffer a Sea Change by Paul Burnell (1960) followed; Flotsam described floating pieces in the sea bobbing, separating, coming together, rising from below and disappearing and then the steady rhythm of Gyre was the swirling gathering in the sea of the ‘great Pacific garbage patch’. Finally, Mechanik by Phil Cashian (1983), inspired by a Scottish sculpture was reminiscent of Chaplin’s Metropolis.

All this was produced by eight wind instruments, a cello, and drums. The musicians were sitting below the audience in the marble Pump Room ‘bath’ area which lent an interesting acoustic to the performance. For the final piece the audience were encouraged to step forward and look down to watch the playing in more detail. This group clearly really enjoy the less usual and sharing their passion and skill for contemporary music with was very well received by the audience.

Jean Ball

GIFTS FROM CROWS - Gifts From Crows Trio

Buxton’s thermal spring water proved an unexpected bonus when the Gifts From Crows Trio took to the stage at the Pump Room... The mellow tone of the saxophone, accompanied by electronic keyboard and drums, was complemented by the sound of trickling water: a perfect addition to some of the softer numbers.

Founder Richard Laurence came up with his unique blend of classical and contemporary music after inheriting a piano at the beginning of lockdown and spending the next two years experimenting.

His Gifts From Crows project was originally intended for piano and orchestra, but joining forces with fellow musicians Helen and Garfield Southall injected fresh inspiration. The original pieces were developed and reworked, creating an evocative soundscape that also makes for a compelling live experience.

The concert got off to a promising start with Sandalwood Psalm: the debut performance of a new composition that is also the opening track on the trio’s new album. The haunting sound of alto sax and rippling keyboard melody was echoed not only by trickling water, but also with the softly projected profile of a young woman, reflected in a pool of light.

It was the perfect introduction to an evening of atmospheric music, with Helen’s outstanding performances on the sax, clarinet and recorder taking centre stage, while Richard used the versatility of his Roland keyboard to impressive effect, and Garfield provided the beat – and special effects – on percussion. The only slight negative was the harshness of crashing drums in the echoing acoustics of the Pump Room.

Highlights included Orchard Summoning: a piece inspired by the poetry of Buxton storyteller Gordon MacLellan. Moody and atmospheric, it engenders a darker story with discordant tones and a minor key.

Also impressive was the Seasons Suite, made up of four pieces, each inspired by its time of year and each vividly portrayed in sound: a brash recorder replacing mellow sax for winter, accompanied by thundering drums and clashing cymbals; a smoother, more melodic harmony for spring, building to the lazy, hazy days of summer.

The evening was a winner for fans of many musical genres in search of something different – a truly innovative and enjoyable performance.

Lesley Caddy

HANNAH BRINE LIVE AT THE BUXTON FRINGE - Hannah Brine

Over the last few years, singer-songwriter Hannah Brine has become a regular at Buxton Fringe. This was my first time hearing her, and on the basis of this concert it’s easy to see why she’s become a Fringe favourite.

Hannah has a vivacious stage presence, easily chatting with the audience with a relaxed charm throughout, and presents an evening consisting mainly of her own songs. Whether on the subject of leaving London, collecting ‘stuff’ or in homage to the singer-songwriters who have inspired her, Hannah’s songs are personal, heart-warming and truthful. Even on first hearing, they feel – and this isn’t a criticism – familiar, like connecting with new friends. As I write this I’m listening to her first album, Blue Sky Now, and they certainly repay repeat listening.

Among the self-penned songs are two making their debut at this show, and it was treat to hear them for the first time. As with the rest of her material, they are life-affirming compositions that deserve a place amongst the rest of her charming repertoire.

Hannah’s voice is relaxed, soft and breathy, with many colours and shades contained within it. As well as her own songs, she also performs a couple of covers from the Great American Songbook, and it’s a sign of her skill that neither of them are songs that I’d heard a million times before. These songs also help her to explore some more hues in her vocal palate, displaying the command she has of her vocal instrument.

For this concert, Hannah was accompanied by jazz pianist Dean Stockdale, whose sensitive musicianship lifts the songs in the warm acoustic of the United Reformed Church in this delightful concert. Hannah will be performing her again later in the Fringe, as well as supporting Rumer at the Opera House as part of the Festival. If you get the chance to see her, you won’t be disappointed.

Robbie Carnegie

JOE BAYLISS - Joe Bayliss duo

Experienced singer-songwriter Joe Bayliss has been known to describe his music as 'laidback misery' but the twinkle in his eye and his wealth of humorous anecdotes would seem to belie that summing up. Certainly there were no long faces at his Fringe performance at High Peak Bookstore & Cafe where an appreciative audience enjoyed his mellow songs influenced by John Martyn and Damien Rice but really all his own and mining his personal experiences.

Both Joe and fellow musician Mike Seal played guitar and different types of guitar were used to great effect, a 12-string version delivering twinkling harmonies thanks to its doubled strings. Mike also played the banjo and many of the songs also benefitted from his playing of the double bass, creating a rich heart beat that married beautifully with Joe’s soft, airy vocal delivery.

Like many of us, Joe has experienced some heartbreak in his life and some of the songs played moving tribute to his late mother who created the 'world of love and hope that we called home'. At the same time there were knowing smiles as he sang about the behind-the-scenes angst at many a wedding in Waiting for the Bride or recalled his short-lived excitement at enjoying a first kiss at primary school in Lessons in Love.

At the end of the show, Joe performed an inventive cover of, of all things, Michael Jackson’s Billie Jean - it sounded great and made me wonder how he might tackle other such over-familiar hits.

In all I was left feeling that there was more to explore with Joe’s music and thankfully he has a fantastic website www.joe-bayliss.com where we can do just that.

Stephanie Billen

JUDY DUNLOP ACCOMPANIED - Judy Dunlop

The crystal clear voice of Derbyshire Singer Judy Dunlop with her velvety tones and her never lost Cumbrian burr made for a superb show last evening at the lovely High Peak Bookstore & Café venue which lends itself so well to musical evenings. Without any instrumental accompaniment, Judy began her set with the tale of a 12 years old girl sobbing over her breakfast as she contemplates her first day of work at the local mill. Having touched our hearts, Judy then swung straight into an amusing tale of a 'Lady of a Certain Age', which explored this lady's present standing after a lifetime of chasing the sun in the Cote d'Azur following a wealthy marriage!

Joined on stage by her talented son Blair Dunlop, Judy and Blair, with his cedar wood fronted guitar, shared relaxed and homely banter as they treated us to a wealth of songs and stories which wove together beautifully . Blair gave a super performance of his own work along with a cover version of Bruce Springsteen's 'Dancing in the Dark'.

A deservedly full to capacity venue, the assembled audience had no hesitation in showing their appreciation for the warmth, talent and skill of these exceptional musicians. Their love for music was delivered in every song and their genuine interest in their audience came across throughout.

Should you get the opportunity to join Judy, Blair, or both of them to experience their music, do not hesitate. Book that ticket and look forward to a musical experience which will stay with you for a long time.

Julie Alexander

L'HEURE BLEUE - Take Two

A magical evening at the Pump Room found musical duo Janette and Colin Sykes on great form as they celebrated l’heure bleue or the ‘blue hour’ each morning and night when there is neither full daylight nor complete darkness.

As blue lights danced across the ceiling, Janette, resplendent in sparkly blue evening dress, sang a mixture of French and English songs all capturing the mellow mood and introduced with interesting titbits of background information - L’amour est bleu, for example, was Luxembourg’s entry to the 1967 Eurovision Song Contest, coming fourth to Sandy Shaw’s winning hit for the UK, Puppet on the String.

Janette had a rich, powerful voice with a lovely tone and managed to make it all sound effortless. She sang as easily in French as in English and her performance carried emotion too, as in her wonderful rendition of Etta James’s At Last.

As impressive was Colin on backing keyboard. Talking to him in the interval, he explained that sometimes he played from a music score and sometimes he “just played from the words”, hearing the music in his head and improvising accordingly. The technology allowed him to flit from straight piano to seemingly bringing an invisible band into the room. It became clear there had been a lot of work beforehand in deciding which sounds and rhythms to bring to each song and knowing when less is more.

In the second half things went a bit more up tempo and some audience dancing occurred… I defy anyone not to at least tap their feet to what Janette calls “hot songs” such as Peggy Lee’s Fever or that much covered standard, originally composed by Kurt Weill, Mack the Knife.

The choice of songs, featuring numbers by Nina Simone, Carole King, Charles Trenet and others, was faultless in my view and this married couple worked extremely well together creating a relaxed atmosphere that the large audience soaked up after the fun and bustle of carnival day. I hope Janette and Colin perform at the Fringe again so even more people can enjoy their professionalism and musical talent.

Stephanie Billen

LIVE AND UNCONVENTIONAL TOUR... - Peter Buxton solo

Peter Buxton used to live here, you won’t be surprised to learn, but now resides in sunnier climes, even sunnier than today here in town.

Milton’s Tap opened their doors to the Fringe again and Peter provided the music for the evening, and there were a few Fringe regulars in the audience with more than one Fringe t-shirt was seen. After a couple of minor niggles with sound and instruments we were off.

Peter gave us a show of songs old and new, playing some well-known standards and a sprinkling of his own compositions. Some of the more familiar numbers such as Take Me Home Country Roads induced a mass singalong as you might imagine, although folks were less vocal with Honkey Tonk Women. There was even time for Warren Zevon’s Werewolves of London to get an airing.

All in all the regulars and visitors to the venue had a good time with some good music. It can’t be bad for a Friday night at the Fringe. Peter has four more shows at the Leewood Hotel on the 12th and 13th – check the Fringe diary for times!

Ian Parker Heath

LIVE NUGGETS - Up-Psychled

Up-psychled are Will Hawthorne guitar and lead vocals, Adrian Sherwood bass and backing vocals and Matt Holder on drums. Will and Adrian were dressed in the hippy style with white pearl necklaces, hats, coats and smocks. All three musicians are very accomplished and enjoyed playing the material. They played a selection of music from the American psychedelic anthology Nuggets (covering the years 1965-1968), together with British psychedelic music which inspired the American scene. The compilation Nuggets was put together by Lenny Kaye and released in 1972.

The American songs were mostly blues songs, maybe not so familiar to a British audience, but with a strong bass line. Of the American songs performed, I would highlight 'I had too much to dream (last night)' by The Electric Prunes, 'Dirty Water' by The Standells, 'Pushin’ Too Hard' by The Seeds, 'Psychotic Reaction' by Count Five. The performance of 'Hey Joe' by The Leaves, also included the Jimi Hendrix version of the song. The performance of 'Baby Please Don’t Go' by The Amboy Dukes was also excellent. Emma O’ Brien helped on 'Run, Run Run' by Third Rail, by operating an old tape recorder, featuring news items from the era. The British songs performed , had variety of musical styles, included 'Paint it Black' (Rolling Stones), 'Shape of Things' (The Yardbirds), 'Tomorrow Never Knows' (The Beatles) and 'Arnold Lane' (Pink Floyd). These British songs were more familiar to me.

The members of the band were introduced, followed by a rendition of an American classic, not appearing on Nuggets, namely 'For what it's Worth' by Buffalo Springfield. The encore pieces were a superb rendition of 'Whiter Shade of Pale' (Procol Harum) featuring Emma O’Brien on guest vocals and then a reprise of 'Tomorrow Never Knows'.

The large room on the ground floor of the Buxton Working Men’s Club was an excellent venue. There was a stage area and plenty of comfortable seating. There was also a small dance area in floor in front of the stage. Although most of the songs performed were very danceable, having to write this review prevented me from getting up, so I do intend to come to their second performance to have a proper dance.

John Hare

LULLABY OF HARLEM: BIRTH OF THE BLUES - ARKangel

The Blues and it’s offsprings have been part of our musical lives for many decades but we don’t always know the origin of the music we listen to.

ARKangel took us on a journey from the 1700’s in Gambia, West Africa where slavery was already present before the Europeans arrived. Tribal music played on sticks, drums and simple one-stringed instruments set on gourds was present since centuries past. The Europeans came and captured slaves to export them to the Caribbean Islands and eventually to what we now know as the USA. Conditions were appalling with 20% 'cargo loss' on these ships regarded as acceptable. The music of these times comprised mainly of laments about the hardship, separation from families and early deaths.

On arrival conditions improved but not much: females were expected to produce a child (a new slave) one per year and young boys were considered ready for adult work at 12. Life expectancy was about 35 years. ARKangel presented a range of music covering these times and as you may guess they were not particularly cheerful.

We progressed through what became known as Delta Blues where the style becomes more familiar to modern ears and the first half concluded with a Robert Johnson song, ‘Dust My Broom’ (not about housework) which along with his other work established the 12 bar blues we are now familiar with.

Following the interval the social history continued through segregation in America. The evolution of the music followed this with examples from Duke Ellington, William Grant Still and the Reverand Gary Davis.

The singing by Katherine was appropriately deep and soulful accompanied capably and unobtrusively by Alan on classical guitar. The niche that ARKangel have exploited with this and other shows in their repertoire (seen in previous fringes) is story telling with music, and this tragic phase of human history was told with compassion and an appropriate feel for the musical development as an expression of those times.

This informative and well researched show concluded with a more upbeat songs from George Gershwin, and Josh White.

The Pump Room appears to be the favoured location of the duo and the acoustics suit their sound well.

There was only one performance this year but hopefully ARKangel will return again in 2026.

Brian Kirman

MOSAIC - Adrian Lord

After a hectic week of Fringe concerts, talks and theatrical productions, Adrian Lord offered the perfect antidote, playing an impressive Yamaha grand piano, surrounded by a ring of fairy lights, in the atmospheric setting of the Pump Room.

His soothing tempos and relaxing melodies created a calm but colourful ambience as he played his way through his latest album, Mosaic – due to be released on August 1 – along with personal favourites from previous works.

Adrian, who lives just over the Cheshire border in Knutsford, is an accomplished composer as well as a compelling performer. This album comprises a range of pieces, all relatively short and each inspired by its own colour palette, with chords and key changes adding vibrancy.

The opening number, Confetti, set the scene, followed by the sparkling ripples of Eira (Welsh for ‘snow’), and the warm tones of Liquid Gold. My favourites included As Light Falls, with its tumbling phrases and a dramatic key change.

Adrian is an engaging host, introducing each piece and giving an insight to his world… telling of pieces written for his five-year-old granddaughter and his mother; and another composed on a two-octave keyboard while holidaying in Scotland.

His music reflects his distinctive style: calming, melodic and deceptively simple, with its captivating cadences and repeating arpeggios. The Pump Room was an atmospheric backdrop – its acoustic surprisingly good for a space built of stone and marble, and its constantly trickling well an unexpected bonus.

'It’s very atmospheric; I shall always insist on having one in future!' confided Adrian.

Mosaic, his fifth album, will be officially released next week, in translucent blue vinyl as well as on CD and online. Meanwhile there’s another chance to preview the release in person at the Pump Room tonight (Friday, July 25).

Lesley Caddy

MRO AT THE FRINGE - Manchester Recorder Orchestra

The Manchester Recorder Orchestra (MRO) is what it says on the tin - approximately 35 recorder players who live in or near Manchester, who play together in an orchestra. They meet monthly to practice, and give a few concerts a year. They are regular visitors to Buxton; this was their 24th concert at the Fringe.

The concept of a recorder orchestra is a fairly recent innovation. The MRO was founded in 1981, and, together with London and Birmingham, was one of the earliest recorder orchestras in the country. This means, as Conductor Ian Chesters explained, that music written specifically for recorder orchestras tends to be modern.

Four modern pieces made up the first half of this concert’s programme. It opened with Joyride, by Nicholas Wynne, and was followed by the curiously named Craft Brew, by Glen Shannon, an American composer who works in IT. The second part of this was described by Chesters as the musical embodiment of a hangover. Andrew Challinger’s Two Fizzles (March Past and Fiesta) were upbeat, but the star of the first half was Dietrich Schnabel’s Feuer und Eis. Chesters claimed the orchestra didn’t like playing this piece, but it went without a hitch. Altogether the four pieces showed the chameleon-like nature of a recorder orchestra’s sound. Sometimes it sounds like an organ; after all, recorders are just pipes of different lengths. But recorders can also mimic the parts of a conventional orchestra, and produce a lyrical sound.

Squash and biscuits were served in the interval, and several audience members took the opportunity to have a look at the sub-contra bass, an instrument which towered over those examining it. It contains four metres worth of pipe, and can’t be heard if played on its own as it needs to bounce its sound off the other instruments.

The second half, conducted by David Walsh, started with the overture from Verdi’s La Forza del Destino, arranged by Walsh. This was followed by the Dunholm Suite, another modern piece by Rosemary Robinson, written for the Society of Recorder Players 2019 Festival, which was held in Durham. The final piece was Prokofiev’s Classical Symphony (No. 1 in D major), also arranged by Walsh.

This was another fantastic concert from MRO, much enjoyed by the audience. The standard of playing was superb, the choice of music an interesting mix between the challenging and the familiar, and the conductors both introduced the music in a way that gave the audience context and understanding. Put a note in your diary to catch the MRO concert at next year’s Fringe!

Georgina Blair

PARTITA - RENAISSANCE AND BAROQUE MUSIC - Partita

"Musick has charms to soothe a savage breast,” wrote William Congreve in 1697. As an epigram for Partita’s concert of Baroque and Renaissance music at Buxton Methodist Church yesterday, it couldn’t be more apt.

I’d arrived frazzled and very nearly late, half-regretting that I’d pinned myself to this particular place and time which had necessitated a drive back over the Cat and Fiddle with one eye on the clock.

But Congreve was right. Sasha Johnson Manning opened the concert singing unaccompanied as she walked down the central aisle. As her glorious top notes soared through the high space, I felt the hairs on the back of my neck rise, and my irritable mood fall away.

Alongside Sasha, Jill Lingard was at the harpsichord and Roger Child rotated through two different lutes and a baroque guitar. As well as singing, Sasha also played the cello and, once, that most courtly of instruments, the recorder. Sarah Lucas acted as compère, introducing and explaining the material. The range of music is impressive, spanning six hundred years (although most is 15-16th century) and five different European countries.

The instruments and voice combine beautifully, it isn’t hard to understand the music’s enduring popularity. The large room at the Methodist Church was full, as it is for this concert every year. The clarity and complexity of the music was conveyed effortlessly by this accomplished trio. My only caveat is that care needs to be taken with the cello. Its rich resonance can easily overwhelm the delicate sound of the other instruments. It’s a tricky balancing act.

By the end of the concert, any lingering feelings of savagery had indeed been soothed. Partita has been at Buxton Fringe for nearly thirty years. Long may they remain!

Anna Girolami

PIANO RECITAL - Jonathan Ellis

On wandering in from Buxton marketplace to the Methodist Church on Friday evening there is little if any doubt about what we are expecting: a large grand piano stands resolutely at the front, its top partly open as if sharing the anticipation of the thirty or so people in the audience. The anticipation was for an evening piano recital by Jonathan Ellis of music by Mozart, Beethoven, Debussy, Schubert and Chopin.

At 7.30pm up stepped Jonathan Ellis himself, dressed in concert black to match the piano, affable and every so slightly self-conscious as he introduced the evening’s programme, starting with a brief description of the first piece, Mozart’s Fantasy in D minor K. 397, of which Mr Ellis had fond childhood memories of listening to the music while following the score with the dynamics highlighted in different colours.

On taking his seat at the piano, any self-consciousness dissolved as this is clearly the situation in which Jonathan Ellis feels perfectly at home, his skilful and expressive playing squeezing every nuance of the dynamics from each piece, clearly those coloured pencils (or pens) had done the trick (well that, and learning the piano from the age of three).

Following Mozart came Beethoven’s Sonata in Ab major Op.110, a work of multiple contrasting sections, including a terse but humorous scherzo believed to be based upon two folk songs - possibly sung in beer halls. An impressionistic shift next to a Debussy suite: ‘Images’ Book 1, three pieces including the evocation of running and dripping water ‘Reflets dans l’eau’, through to a dramatic ‘Homage a Rameau’, to a piece called simply ‘Mouvement’, leading to the interval.

Jonathan Ellis resumed with ‘Sonata D. 960 in Bb major’, impressively rich and varied - sometimes powerful, sometimes playful, and including a contrasting lament - all played to good and absorbing effect by Mr Ellis. Interestingly this piece was written in 1828, a few month’s before Schubert died at the age of 31.

Any melancholy was dissipated with the joyous final piece listed in the programme, Chopin’s Barcarolle in F# major. Obviously not in the programme was the encore, encouraged by the delighted audience, who were treated to Liszt before stepping lightly into a warm July evening.

Curtis Bollington

A SHORE TO CIRCLE BACK TO - Chloe Jones

How lucky we are to have Chloe Jones singing and playing acoustic guitar for us at the Fringe this year - such a talent in this delightful venue (Baileys). Chloe Jones gives us a taste of her new work and a fascinating insight into the creative process behind her songwriting. Her open, friendly and warm introduction created a relaxed beginning to what was a really lovely evening. We left this event feeling like we had made a new friend and learnt about places we would like to visit again.

Baileys hosts live music at weekends and was a perfect venue for Chloe; the intimate relaxed and soft lit ambiance was ideal for this accomplished young singer-songwriter. The bar was comfortably full with an attentive and captivated audience, drawn together to enjoy an evening of music, telling of love, loss and laughter. The event had an Americana folk flavour reminiscent of Joni Mitchell’s tone and vocal range with Chloe’s guitar ballads and songs capturing a wonderful flow of lyrical storytelling, imaginings, hopes and dreams.

Her music has the ability to draw us into Chloe’s world, sharing with us the journey and inspiration behind her writing. Chloe crafts songs that create images in the mind and evoke emotion, drawing the listener in as she builds a meaningful connection with the audience. Her 60-minute set list whizzed by too quickly, it was curated beautifully with what felt to me like an ideal combination of new pieces that were described as work in progress, alongside well played and comfortable, familiar songs that a few in the audience tapped along to knowingly. Chloe chose two covers that were carefully and well placed: ‘Jolene’ and ‘Always On My Mind’ were brave choices, but were played confidently without gimmick, and with plenty of style and grace.

'A Shore To Circle Back To' is currently on tour; you can see Chloe Jones in London and Edinburgh this summer. I’ll definitely be following @chloejonesmusic on Instagram and will no doubt hear lots more from her in the years to come.

Claire Parker

THE SHOWS WE USED TO KNOW - Robert Hazle & Helena Northcote

In a Fringe packed with quirky comedies and edgy new writing, this show stands out as a rare and lovingly crafted celebration of Britain’s forgotten musical treasures. The Shows We Used to Know does exactly what it promises – honours the flops, feted misfires, and fading gems of British musical theatre with charm, talent, and an irresistible dose of nostalgia.

From the outset, the production sets a high bar. A glossy, thoughtfully designed leaflet hints at the care taken with the show itself – and that care is evident from the moment you enter the space. The stage is warmly dressed with a vintage tasseled cloth atop a grand piano, surrounded by LP covers from long-lost musicals. It’s a subtle yet inviting hint of the time-travel journey ahead.

Helena Northcote, beautifully attired in a 1940s-style floral dress, instantly transports you to another era, and Robert Hazle, in black velvet dinner jacket and paisley scarf, completes the picture of classic theatrical flair. Their chemistry is evident from the first number, the upbeat and aptly chosen 'It’s a Party of a Lifetime.' And indeed, for an hour, that’s exactly what it feels like.

The pair guide the audience through forgotten musicals by the likes of Ivor Novello and Noël Coward, punctuating each piece with stories of flops and faded glories – shows that lasted mere nights in the West End but left behind songs worth hearing again. Both performers bring a light touch and quiet wit to their storytelling, never allowing the show to become too reverent.

Comedy is cleverly woven in – Robert’s awkward realisation that his mother-in-law was in the audience just before singing 'Her Mummy doesn’t like me anymore' drew hearty laughs. Helena’s performance of 'Betty Blue Eyes' was a delight, especially when she was unexpectedly joined on stage by Betty herself – no spoilers, but it was an utterly charming moment.

The hour flew by. Each song, impeccably performed, made a case for the forgotten stars of yesteryear such as Anthony Newley, Jessie Matthews, and Elisabeth Welch. This is more than a concert; it’s a revival mission with heart and humour.

With just two more performances left, lovers of classic British musicals should consider this unmissable. You’ll leave humming tunes you’ve never heard before – and wondering why you hadn’t heard them sooner.

Darren Finn-Hurst

SIMPLY A CAPPELLA - Ordsall Acappella Singers

The Ordsall Acappella Singers returned to Buxton Festival Fringe, bringing all of their musicality and communication skills to deliver a lovely programme to a very appreciative audience at the United Reform Church.

Their repertoire is rather more popular than classical, but the arrangements are sophisticated. All songs were performed from memory, with little sheet music in evidence. Timing was precise and co-ordinated across the choir, starts and ends tight, and diction, particularly consonants, clear and consistent across the choir. Not all choirs achieve that. Dynamics were clear, and well rehearsed, giving a natural delivery which required little intervention from their excellent musical director, Jeff Borradaile. Their Latin on Stopford’s ‘Ave Verum’ was clear, consistent and diphthong-free. The soloists on some of the later songs all sang strongly and musically, as the choir sang sensitively to allow the solos to come across clearly above the group.

We were told how they set themselves new challenges each year, aiming towards their Fringe gig. This year it was Jennifer Lucy Cook’s composition ‘Time’. It was performed beautifully with precise timing and sounded as familiar to them as their other pieces. Their obvious enjoyment and commitment to their choir came across in spades.

The choir engaged well with the audience, who responded with justifiable enthusiasm. Ordsall Acappella Singers first attended Buxton Festival Fringe in 2010 and we were told during the concert that our Fringe is in some ways the highlight of their singing year.

As with last year’s visit, they left this late morning concert to sing in the Pump Room, with another performance, followed by cakes and refreshments, later in the afternoon.

Ian Bowns

SINGING FOR HIS SUPPER - Charlie Moritz

To borrow the phrasing of one of his best known songs, Charlie Moritz is a Bloke With A Guitar. The beautiful Purple Room of the United Reform Church was the perfect place for his stripped down, acoustic set.

The local singer-songwriter performed a dozen or so songs over the course of an hour. Most were his own compositions, some clearly already familiar to his audience and some brand new. His songwriting is wide-ranging. He moved from songs about the small details of life - sometimes celebratory, sometimes with an unexpected backbone of bitterness or anger - to songs about the big things like illness, death or love gone bad.

In a surprise move, he put down his guitar for the middle section of the show and sang with fellow Fringe performer, Stuart Bootle, backing him on the piano. It was interesting to hear how his voice altered and swelled during those songs. In fact, his best vocal performance came during an a cappella cover of a Cyril Tawney song that set my spine to tingling.

But he is most at home singing and playing his guitar, like the good troubadour that he is. He bends notes with his voice and with his instrument, he wanders off into a key change and then comes back again, he’s as happy with a blues beat as he is in a folk framework.

He was also very comfortable on this stage and with this audience. The rapport was instant and confiding. It made for a congenial and very personal hour.

Charlie has one more show at Buxton Fringe, next weekend. If you want an pleasant treat for the early evening, come and see this Bloke With A Guitar.

Anna Girolami

SINGING UP A STORM - Buxton Community Choir

A packed Palace Hotel Ballroom bore witness to an uplifting and joyous evening of music on Sunday, as Buxton Community Choir performed a vibrant summer concert under the banner "Singing Up a Storm". Despite the clash with the Women’s Euro Final—where England’s Lionesses triumphed on penalties (which MD Chris joyfully announced at the beginning of the 2nd half)—the turnout remained strong, with the Mayor of High Peak, Cllr Elliott-Starkey, in attendance.

The concert was conducted by Musical Director Chris Blackshaw, accompanied by Chris Flint on keyboard, and enhanced visually by atmospheric lighting from Nick Wilson.

The evening's programme took the audience on a thematic journey across seasons, weather, and countries. Even before the opening number, gentle birdsong echoed through the venue, setting a tranquil yet anticipatory tone. The choir, dressed uniformly in black with accents of turquoise and carrying gold-embossed folders, presented a polished and professional appearance.

Chris Blackshaw introduced each piece with insight and charm, providing context that enriched the performance. From the first note of "Singin’ in the Rain"—aptly dubbed a potential Buxton anthem—the choir demonstrated technical skill and dynamic control. Their lush harmonies were supported by Chris Flint’s sensitive and well-balanced accompaniment, aided by Alison.

A standout aspect of the concert was its thoughtful and creative use of lighting. Subtle but effective colour changes elevated the visual experience—particularly during the “moon” themed pieces, where a serene wash of blue bathed the stage. Nick’s design added an unexpected but welcome layer of drama to the evening.

A particularly moving moment came with the choir’s performance of "You Raise Me Up", dedicated to Kay, a long-standing choir member who had recently passed away. Introduced by the Musical Director, the piece served as a touching tribute to her memory, delivered with sincerity and grace.

Throughout the concert, the choir’s diction was exemplary—every lyric clearly enunciated and emotionally resonant. The balance of voices was impressive, notably the strong representation from male members, with 11 men, 3 basses and 8 tenors who were bolstered by the presence of three female tenors—a rare and commendable feat in amateur choral groups.

The first half closed with a powerful rendition of "Bring Him Home", arranged for full choir. Traditionally a solo piece, this version showcased the ensemble's ability to navigate complex harmonies and counter-melodies with precision and feeling.

The second half opened with flair as the choir launched into Toto’s "Africa". Accompanied by choreographed movement, vocal sound effects, and dramatic lighting simulating a thunderstorm, it was a clear highlight of the night. Another visual treat came during "Somewhere Over the Rainbow", where multicoloured lights flooded the stage in sync with the familiar yet freshly interpreted arrangement.

Demonstrating a willingness to embrace contemporary material, the choir tackled Adele’s "Skyfall" with impressive conviction. So compelling was the vocal delivery, one could almost believe the pop superstar had joined the ensemble.

The concert drew to a joyful close with an upbeat trio of summer favourites: "Bring Me Sunshine", which gave the basses a moment in the spotlight; "Walking on Sunshine", bursting with energy; and the universally recognised "I’ll Be There for You", complete with audience participation on the iconic handclaps.

This was not just a concert—it was a celebration of community spirit, vocal talent, and musical variety. Buxton Community Choir delivered a thoroughly entertaining evening that left the audience smiling and uplifted.

They should be rightly proud of their performance.

Darren Finn-Hurst

SONGS FOR A SUMMER'S NIGHT - Chapel-en-le-Frith Ladies Choir

On a warm summer evening, the Chapel-en-le-Frith Ladies Choir presented a rich and varied programme at the Buxton United Reformed Church, delighting a full audience with 'Songs for a Summer Evening.' The concert, under the expert musical direction of Joe Tanner and accompanied by the talented Jane Simmons, offered something for everyone — from stirring classical works to familiar favourites from the world of pop and musical theatre.

Joe introduced each number with warmth and humour, providing context that helped bring each piece to life. His rapport with the choir and audience alike added a personal touch to the evening. The choir performed with exceptional clarity and emotion, their diction allowing every lyric to be heard clearly — a rare treat in choral performances.

Highlights included Karl Jenkins’ Adiemus and Mozart’s Ave Verum, where the harmonies blended seamlessly and the sopranos soared with elegance and control. A moving rendition of 'I Know Him So Well' from Chess featured a confident trio, and thoughtful staging ensured they could be seen and appreciated by the entire audience.

The evening also featured two immensely talented young guest performers, Barny and Ben, on viola and violin. Both under the age of 17, they performed complex classical works — including Brahms’ Hungarian Dance, Albeniz’s Tango, and a beautiful rendition of Bach’s Prelude from the Cello Suite — with technical precision and musical maturity well beyond their years.

In the second half, the choir returned with arrangements from Bacharach, Billy Joel, and Simon & Garfunkel. 'A Nightingale Sang in Berkeley Square' showcased delicate counter-melodies and dynamic balance, while the finale, 'Bridge Over Troubled Water,' delivered soaring harmonies and emotional depth.

A rapturous round of applause closed the evening — a well-deserved tribute to a truly uplifting performance. All involved should feel immensely proud.

Darren Finn-Hurst

SOUND ON SOUND SESSION WITH WILL AND DAVE - Will Hawthorne and Dave Goodway

Will Hawthorne played guitar, sang and talked about the history of musical recording. Dave Goodway showed slides, did the tape machine and mixing desk operations. The difficulties of recording on to tape were shown by periodic technical tribulations. Sometimes the live recording on to tape led to strange phase and frequency changes. Some of the equipment was at least 50 years old, so some deterioration could be expected. Another problem was that slides could not easily be changed without shading their screen projection.

Will and Dave, working together, showed how many songs were produced and recorded. My personal favourites from the first half were: MacNamara’s Band by Bing Crosby, I don’t think of Bing Crosby as singing Irish songs. Confess by Patti Page, this recording highlighted Patti’s fine Alto voice. How High the Moon by Les Paul and Mary Ford, which showed what a great contribution Les Paul made to the music industry. Emma O’Brien featured on backing vocals here. From the second half I particularly enjoyed: Something Else by Eddie Cochrane (4 track recording), which I recognised from the drum and bass track alone. I am still a Beatles fan so I would have to include. Tomorrow Never Knows (Dave did the tape looping here) and Back in the USSR (8 track recording).

Will talked throughout about the history of musical recording. In the first half the lives of technical people, such as Thomas Edison A G Bell, Emile Berliner, Alan Lomax and Les Paul, were of interest. Later in the second half, the technology was the main topic including the invention of magnetic tape, reel to reel tape recording, multi-track recording, the use of tape loops and sampling. I particularly enjoyed the discussion and demonstration on sampling (Good Times to Rapper’s Delight) and the use of a loop pedal (My Name Is).

The sound recording equipment really interested people in the audience, who had used or seen such equipment in the past. Some people therefore went forward at the end, to take a look at it and chat to Dave and Will. For myself I remember my family’s portable Phillips reel to reel tape recorder and using a cassette tape recorder to record the Apollo Soyuz radio programmes and record myself doing funny voices and impressions. In summary the evening was both enjoyable musically and technically informative.

John Hare

SWEET PICK 'N' MIX - Polydolci

In the blessedly cool surroundings of the Pump Room, the five members of Polydolci took us on a tour of recorder music stretching from the fifteenth century to today. We were given a brief commentary on the music as we went through the programme, which included pieces by Josquin, Dowland, Purcell and Greig. We also learned about the history of the viol, or viola da gamba, which was used in the Baroque as a consort instrument. Apparently families would often have a whole set (there are seven different sizes), and would play together.

A song from Shakespeare’s Love’s Labour’s Lost (When Daisies Pied) showed how well the recorder can mimic a cuckoo, and the audience enjoyed an arrangement of Tchaikovsky’s Sugar Plum Fairy. While the Baroque period was the first Golden Age of the recorder, a second Golden Age is happening now. Blues for Barley and Rag for Mac by Marg Hall were lively modern pieces. The programme ended with Rumba by Brian Bonsor, a modern composer and educator whose name will probably be familiar to anybody who has tried to learn the recorder.

This concert by the Polydolci consort showed the range and variety of recorder music, and scope of the instruments. Swapping between the different sizes of recorder with ease were Carol Bowns, Janice Lucas, Esme Upcott and Anne Windsor, while Glad Capewell played viol and percussion.

There was a full house in the Pump Room and enthusiastic applause after every piece. This was the consort’s first appearance at Buxton Fringe, but it’s to be hoped it’s not their last.

Georgina Blair

TELLYFULL OF SONGS: FINGERS ON THE BUTTON - Fred Up

A welcome return to the Fringe from Fred Up! This reviewer was not there the first time around, though what a fun evening it was this year!

Warm, in more ways than one, the duo played through some memorable tunes from the golden era of TV and through the ages (no spoilers here!). The audience, which was an almost full house on a hot summer's evening, were fully invested from the very get-go and wholly embraced the challenge of guessing TV themes, actors, singers and more.

A virtuoso solo mid-way through the performance particularly impressed and tickled this particular reviewer, and many sang along throughout. In fact, we were actively encouraged by the amiable duo to do so.

As for the quiz...well, it was indeed manic, and tremendous fun. No-one in the audience remembered their scores at the final call and in doing so, it meant we all won on the night! Lively, friendly, cheeky and fun, this reviewer is sure their run this year will be a 'nearly', 'almost' definite success. One up for Fred Up!

Brian Lutchmiah

THE THIRTY-SIX VIEWS OF MOUNT FUJI - Orugoru

A near capacity audience was treated to the premiere of music inspired by the iconic series of prints by the Japanese artist Hokusai in the Pump Room. Many of us will have some familiarity with the most famous in the series, ‘The Great Wave off Kanagawa’, but we may not have seen all the initial series of 36 landscape prints, now nearly 200 years old. I believe that their popularity, at least in the West, has fluctuated over that time, though recent decades have seen a resurgence in interest.

The concert was very much of two halves, the first made up of a series of pieces based on the Gods, fables, sea monsters and mythical creatures of Japanese culture that set the musical language for the compositions inspired by the prints.

The second half comprised 36 short (each under a minute) pieces inspired by the individual prints, with each respective painting projected onto a screen. The playing style was varied, ranging from fluid slower passages to rapid, intricate interplays across and between instruments. There were also tight unisons and delicate solo pieces as well as the full ensemble sound. The music travelled from simple to complex, melodically, harmonically and rhythmically. The performance was technically excellent with great musicality, some delightful melodies and more than little humour.

Orugoru (‘music box’ in Japanese) are Paul Vowles (recorders and composition), Jamie Dalzell (percussion – xylophone, snare drum and gong), and Kwangho Lee (piano). Paul’s technical expertise and experience on recorder seems to be integral to both the composition and performance, as the pieces incorporate a number of extended techniques on the instrument, enabling a wider range of sounds that remind us of traditional Japanese instruments and the scenes depicted in the prints. Though the sounds are different, think of the extended techniques on guitar of a Michael Hedges or Jon Gomm, or Ron Aspery of jazz trio Back Door, playing two saxophones at once (in this case two recorders).

They have no further performances at this year’s Fringe and no firm plans to perform this piece again elsewhere. I’d be grateful if someone would rectify that.

Ian Bowns

THIS ISN'T GOING TO HURT - TAKE TWO - Dr Stuart Bootle

The title of the evening refers to Stuart Bootle’s successful show in last year’s Fringe. I arrived, just after the doors opened, to find an almost full room of people, but thankfully with a seat reserved for the Fringe reviewer. Stuart is clearly very likeable and at ease talking to the audience which included friends of his from the worlds of medicine, golf and music. Stuart mostly sang and played piano but also played guitar on two numbers and accordion on another. Will Hawthorne, who was on the sound desk, played guitar on two songs. The audience enjoyed the songs performed and often sang along.

Stuart told stories of his life in the medical profession. One of the themes was how music can be therapeutic. Some songs performed featured on an EP 'A sense of connection' by Finding Resonance (Stuart Bootle and John Uno Roog). His story of how he became unconscious due to type 1 diabetes whilst in a gynaecology ward was very informative. Guessing a patient’s illness from their symptoms was a popular item led by Stuart. A nurse, 'Little Lisa from Harrogate' (Lisa Cooke), joined in with amusing stories of nursing on the themes of False Teeth, Arrogant Surgeons and Commodes.

12 Songs were performed during the evening. I particularly enjoyed the Manchester songs 'Love Will Tear Us Apart' (Joy Division) and 'Wonderwall' (Oasis). 'Another Lonely Sunday Afternoon' and 'Castles in the Sky' written by Stuart Bootle and performed on the guitar were excellent. The latter song was about the new skyscrapers of Manchester. Stuart hopes these two songs will feature on a new Finding Resonance EP. The performance of 'Comfortably Numb' (Pink Floyd) with Will Hathorne on guitar was superb. The performance of the Tom Jones song 'Delilah' with Stuart on accordion, Will on guitar and Lisa on white lyric boards to encourage audience participation, was darkly comic.

In summary the evening was highly entertaining. Stuart hopes to run a similar event in the Buxton Fringe next year.

Below is a link to the first Finding Resonance EP:

https://findingresonance.bandcamp.com/album/a-sense-of-connection

John Hare

VIRTUOSO CLASSICS FOR GUITAR - Ed Billingham

It takes a certain amount of bottle to use the word 'Virtuoso' in you show title, but when you play Albeniz' Asturias just as a warm up, the signal is clear. This is going to be an evening of pieces that would seriously challenge the best of players. And Ed can include himself in that company.

The first half was skewed towards the Baroque, with the evergreen Sor's Variations on a theme from the Magic Flute and Bach's Lute Suite No 3 sandwiching Vivaldi's El Estro Armonico Concerto. The Vivaldi was the most convincing piece, the lush arpeggiations projecting beautifully in the welcoming acoustics of the Burbage Institute.

After an interlude which featured wine and nibbles generously provided by our host, Ed really came into his own with the Brouwer's Cuban themed El Decameron Negro and two pieces by the Paraguayan guitarist and composer Barrios. Ed has an exceptional feel for this modern Latin American music which in the wrong hands can sound discordant but Ed can make it sound beautifully melodic and lyrical. One of the audience had walked all the way from Chapel-en-le-Frith to hear the Barrios; he felt it was well worth it.

A closing with Rodrigo's Fandango followed by Recuerdos de la Alhambra by Tarrega brought a highly satisfactory conclusion to an evening of genuine virtuoso guitar playing.

Fred Rolland

THE YOUNG PERSON'S GUIDE TO THE ORCHESTRA - Sheffield Music Academy & Friends

I grew up with Benjamin Britten’s The Young Person’s Guide to the Orchestra – as I recall I had it on a record with the Britten piece on one side and Saint-Saëns’ The Carnival of the Animals on the other. It’s a composition designed specifically to introduce children and young people to classical music. In it Britten takes the second movement of Henry Purcell’s Rondeau from the Abdelazer Suite and then deconstructs it. First we are introduced to each desk of the orchestra – Woodwind, Strings, Brass, Percussion, before bringing them all together to play this singularly rousing piece of music. Then Britten begins to weave in his own variations on Purcell’s theme, introducing each instrument as he does so, before, again, bringing them together to create a much more ornate new composition.

It is a piece of music that many have grown up with and so is a fitting choice for Sheffield Music Academy to bring to Buxton. Although created to inspire young people, Britten – as ever – doesn’t make it easy for his players, and the mainly young players of the Academy have to bring all their skills to bear to perform this extremely complicated piece. This they do with flying colours, creating a wonderfully uplifting musical experience.

This concert was free to attend, so anyone could experience this short, but memorable recital. An invitation had been put out for local performers to join the ensemble, but I’m not sure if this was the case in the end – certainly it was never mentioned in the introduction. However, this was a nostalgic and immensely positive musical experience.

Robbie Carnegie

Reg. Charity 1202904 © Buxton Fringe 2025

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