{"id":25092,"date":"2026-03-01T07:00:00","date_gmt":"2026-03-01T07:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=25092"},"modified":"2026-04-02T12:36:31","modified_gmt":"2026-04-02T11:36:31","slug":"this-years-tour-one-that-had-gone-before","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2026\/03\/01\/this-years-tour-one-that-had-gone-before\/","title":{"rendered":"POETRY \/ THEATRE \/ MUSIC: FOLK, CLASSICAL, AMERICANA, COUNTRY AND JAZZ   Sidetracks &amp; Detours Sunday 1st March 2026"},"content":{"rendered":"\n<p class=\"has-text-align-center\"><strong>CONTENTS<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"194\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-2.png\" alt=\"\" class=\"wp-image-25180\" style=\"width:466px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-2.png 200w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-2-36x36.png 36w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>ALL ACROSS THE ARTS<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>poetry and creatiove writing<\/strong><\/p>\n\n\n\n<p>1 Amy Stansfield<\/p>\n\n\n\n<p>2 Northern Voices and Identity<\/p>\n\n\n\n<p>3 Spoken Word and Young Voices<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong> announcing theatre events<\/strong><\/p>\n\n\n\n<p>4 Heywood Civic Hall re-opens<\/p>\n\n\n\n<p>5 Meet The Hatter<\/p>\n\n\n\n<p>6 Lifting The Curtain<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>classical music<\/strong><\/p>\n\n\n\n<p>7 Toad Lane Concert<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">F<strong>OLK MUSIC collated by Expo Folk and Sound Roots<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"194\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-8.png\" alt=\"\" class=\"wp-image-25189\" style=\"width:446px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-8.png 200w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-8-36x36.png 36w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>SIDETRACKS &amp; DETOURS<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>UK folk music<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-left\">8 Folk Album Of The Year Gala<\/p>\n\n\n\n<p>9 Album Of The Year Gala<\/p>\n\n\n\n<p>10 Jersey Folk Festival<\/p>\n\n\n\n<p>11 Official UK Folk Albums Chart<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>classical music<\/strong><\/p>\n\n\n\n<p>12 Music In Porstmouth<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>country music<\/strong><\/p>\n\n\n\n<p>13 Lucie Tiger<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>americana music<\/strong><\/p>\n\n\n\n<p>14 Lucinda Williams<\/p>\n\n\n\n<p>15 Josh Ritter and Bob Weir: Blue Mountain<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>live jazz music<\/strong><\/p>\n\n\n\n<p>16 Ben Crosland\u00b4s All Star Jazz band<\/p>\n\n\n\n<h3 class=\"wp-block-heading has-text-align-left\" id=\"poetry-spotlightamy-stansfield\">1 AMY STANSFIELD IN THE POETRY SPOTLIGHT<\/h3>\n\n\n\n<p><strong>by Steve Cooke<\/strong><\/p>\n\n\n\n<p>From <strong>Rochdale<\/strong>, at <strong>University in Edinburgh<\/strong> and currently living in <strong>Canada<\/strong>, Amy Stansfield is a 21-year-old trying to make time to write. She writes everything from journalistic articles to short stories and poems. She is currently planning her first novel.<\/p>\n\n\n\n<p>Kruckle: To roll one&#8217;s ankle<\/p>\n\n\n\n<p><em>Everyone I meet I teach them the word kruckle. I tell them it means to roll one&#8217;s ankle, and they say, \u2018ohhhh\u2019 that makes sense.<\/em><\/p>\n\n\n\n<p><em>I tell them even in the town over they do not know this word. I tell them I am seeing how far I can spread the word across the world. It is in Canada, for now.<\/em><\/p>\n\n\n\n<p><em>But I do not think these people care to remember, to tell others. So, it is down to me. I will keep trudging along these strange roads I do not recognise. I will say it over and over in my head as I listen to Jesus is a girl from Rochdale while getting strange looks wearing my <strong>Burnley<\/strong> shirt.<\/em><\/p>\n\n\n\n<p>\u201cThis poem is about my connection to my hometown of Rochdale. Living abroad for the first time I feel more connected to British culture, northern culture than ever and I miss it very much. It also touches on my struggle being so far from home and how it can be bitter-sweet to see the world.\u201d<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>creative writing<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"113\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-1.webp\" alt=\"\" class=\"wp-image-25190\" style=\"width:467px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-1.webp 367w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-1-300x92.webp 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Spotland Library<\/strong><\/p>\n\n\n\n<p><strong>2<\/strong> <strong>NORTHERN  VOICES AND IDENTITY<\/strong><\/p>\n\n\n\n<p><strong>review by Steve Cooke<\/strong><\/p>\n\n\n\n<p>On Friday 6th February Rochdale hosted a very special afternoon of poetry and spoken word at <strong>Spotland Library<\/strong> with <strong>Northern Voices and Identit<\/strong>y. The mic was firmly in the hands of powerful Northern voices, exploring what identity means to us in 2026.<\/p>\n\n\n\n<p>Hosted by <strong>Rochdale\u2019s Poet Laureate,  Sammy Weaver<\/strong>, this event was part of a borough-wide series celebrating bold new poetry and creative voices. Visitors found striking words, bold and creative Northern perspectives, and performances that will linger long in their memory.<\/p>\n\n\n\n<p>The theme of identity invited a range of stories and styles, from playful to profound and from personal to political. Performers included:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Hafsah Aneela Bashir<\/strong>, award-winning poet, playwright, and performer<\/li>\n\n\n\n<li><strong>Mike Garry,<\/strong> poet and poet-librarian<\/li>\n\n\n\n<li><strong>Alende Amisi<\/strong>, young poet in residence<\/li>\n\n\n\n<li>Local poet <strong>Yasmin Hussain<\/strong><\/li>\n\n\n\n<li>Local poet<strong> Sid Calderbank<\/strong><\/li>\n<\/ul>\n\n\n\n<p>This event was part of a partnership between <strong>Rochdale Borough Libraries, Rochdale Borough Council, and Rochdale Development Agency<\/strong>, funded by<strong> Arts Council England<\/strong> and <strong>Flexible Funds,<\/strong> and forms part of <strong>Greater Manchester\u2019s Town of Culture programme for 2025\/26, <\/strong>celebrating Rochdale\u2019s role as the region\u2019s cultural heartbeat.<\/p>\n\n\n\n<p>Together, they are doing a great job of creating space for <strong>Northern Voices<\/strong> to inspire and connect our community. :<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"113\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-3.webp\" alt=\"\" class=\"wp-image-25192\" style=\"width:467px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-3.webp 367w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-3-300x92.webp 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>The Yard in Heywood<\/strong><\/p>\n\n\n\n<p>3 <strong>SPOKEN WORD AND YOUNG VOICES<\/strong><\/p>\n\n\n\n<p><strong>Preview by Steve Cooke<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p id=\"viewer-zbcx0211\"><strong>Spoken Word and Young Voices<\/strong> is an evening of poetry, spoken word, and creative energy at The Yard in Heywood designed especially for young people and their families<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"740\" height=\"370\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/soken-voice.avif\" alt=\"\" class=\"wp-image-25165\" style=\"width:468px;height:auto\" \/><\/figure><\/div>\n\n\n<p><strong>Spoken Word and Young Voices<\/strong> is an evening of poetry, spoken word, and creative energy at <strong>The Yard in Heywood<\/strong> designed especially for young people and their families.<\/p>\n\n\n\n<p><strong>Rochdale\u2019s Poet Laureate Sammy Weaver<\/strong> will host the session as part of the <strong>Rochdale Creates Town of Culture <\/strong>programme, bringing fresh, local voices into the spotlight with young voices, from page to stage<\/p>\n\n\n\n<p>.<em>\u201cExpect electrifying words, lively performances, and plenty of opportunities to hear young people share their stories.\u201d<\/em><\/p>\n\n\n\n<p>Youth workers will be on hand throughout the evening to ensure a safe space for everyone, and you will hear<br><strong>Alende Amisi \u2013 young Poet in Residence<\/strong><\/p>\n\n\n\n<p><strong>Reece Williams &#8211; First Story poet<\/strong><strong><\/strong><\/p>\n\n\n\n<p><strong>Andy Craven-Griffiths \u2013 workshops for writing and performance for all ages<\/strong><strong><\/strong><\/p>\n\n\n\n<p><strong>Darnhill Young Poets presenting their own work<\/strong><strong><\/strong><\/p>\n\n\n\n<p>Join in, this is more than just listening, it\u2019s about sharing, creating, and championing creative young voices from our fabulous borough.<\/p>\n\n\n\n<p>Whether you\u2019re familiar with poetry or it\u2019s your first time exploring it, you are invited to join in and feel the amazing vibe of spoken word poetry in action. Not to mention you can pick up some tips from the performers.<\/p>\n\n\n\n<p>Delivered in partnership with <strong>Rochdale Youth Services, Rochdale Libraries, Rochdale Borough Council, and Rochdale Development Agency<\/strong>, and funded by <strong>Arts Council England and Flexible Funds<\/strong>, this event gives young voices a stage to shine.<\/p>\n\n\n\n<p>Free to attend and open to young people and families, go along and catch the bug.<\/p>\n\n\n\n<p class=\"has-text-align-center\"><em><strong>announcing<\/strong><\/em> <strong>THEATRE EVENTS<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"113\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-4.webp\" alt=\"\" class=\"wp-image-25193\" style=\"width:466px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-4.webp 367w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-4-300x92.webp 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><\/figure><\/div>\n\n\n<h3 class=\"wp-block-heading\" id=\"heywood-civic-reopens-with-a-programme-of-family-theatre-events\"><\/h3>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>4 HEYWOOD CIVIC HALL<\/strong> reopens with a programme of family theatre events<\/p>\n\n\n\n<p><strong>Preview by Steve Cooke<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Heywood Civic reopens after a major refurbishment with a programme of family theatre events. The venue now includes a modernised theatre, upgraded facilities and a brand-new bar and kitchen.<\/p>\n\n\n\n<p>The programme includes a variety of family shows including The Detective Dog, The Ultimate Bubble Show and Kpop Fantasy. The Pay What You Can ticketing model means that families with a low household income can book discounted tickets \u2013 no evidence needed.<\/p>\n\n\n\n<p>There\u2019s also a free Family Fun Day taking place on Sunday, March 1 with arts, crafts and games for all.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"113\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-5.webp\" alt=\"\" class=\"wp-image-25194\" style=\"width:469px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-5.webp 367w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-5-300x92.webp 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>5<\/strong> <em><strong>Book tickets now for<\/strong><\/em> <strong>MEET THE HATTER<\/strong><\/p>\n\n\n\n<p><strong>preview by Steve Cooke<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>In celebration of their 15th anniversary, Joss Arnott Dance returns with the company\u2019s most ambitious production to date, their brand-new, cinematic dance and multimedia show Meet the Hatter. Integrating dance, storytelling, original music, digital projection, lighting and animation, this epic production features a new retelling of the iconic Hatter character from Lewis Carroll\u2019s Alice\u2019s Adventures in Wonderland \u2013 but with a twist.<\/p>\n\n\n\n<p>With no one arriving at the iconic tea party, the lonely Hatter uses the power of his imagination to create his own magical version of Wonderland shown through breath-taking and immersive multimedia \u2013 but what adventures lie ahead and who will he meet along the way?<\/p>\n\n\n\n<p>Meet the Hatter takes us on a journey through a spectacular world that celebrates the importance of play, whilst exploring how developing self-belief can open up opportunities we\u2019ve only ever dreamed of.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"367\" height=\"113\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-6.webp\" alt=\"\" class=\"wp-image-25195\" style=\"width:469px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-6.webp 367w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/aata-6-300x92.webp 300w\" sizes=\"auto, (max-width: 367px) 100vw, 367px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>Rochdale theatre set for dramatic new look<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-left\">6 <strong>LIFTING THE CURTAIN: <\/strong><\/p>\n\n\n\n<p><strong>By Steve Cooke<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1030\" height=\"882\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre-1030x882.jpg\" alt=\"\" class=\"wp-image-25198\" style=\"width:468px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre-1030x882.jpg 1030w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre-300x257.jpg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre-768x658.jpg 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre-1500x1285.jpg 1500w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre-705x604.jpg 705w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/curtain-theatre.jpg 1536w\" sizes=\"auto, (max-width: 1030px) 100vw, 1030px\" \/><\/figure><\/div>\n\n\n<p>Great news for our borough\u2019s theatre goers and fans of live performance with the news that Rochdale\u2019s Curtain Theatre will be getting a new look, after plans for improvements to the exterior of the building have been revealed.<\/p>\n\n\n\n<p>The historic 180 seat theatre that has just celebrated its centenary, will soon benefit from a re-painted facade inspired by the theatre&#8217;s signature red, along with new signage and exterior lighting to improve its appearance and visibility as part of wider investment in the area delivered by Rochdale Development Agency.<\/p>\n\n\n\n<p>As well as giving the theatre, which was established in 1925, a more prominent and theatrical appearance, the investment aims to encourage new audiences and improve the appearance of <strong>Milkstone Road.<\/strong><\/p>\n\n\n\n<p>Designs showing what the theatre will look like after work is complete have been produced by architects \u2018IF_DO\u2019, who have worked with the volunteer team at the theatre during a series of engagement workshops to develop designs that celebrate its rich theatrical history, while looking to its future<\/p>\n\n\n\n<p>The busy area, close to Rochdale town centre, is benefitting from a series of other improvements and activities, delivered by<strong> Rochdale Development Agency<\/strong> and <strong>Culture Co-op<\/strong> aimed at celebrating the people, businesses and identity around Milkstone Road. The work is part of the <strong>\u2018Made in Milkstone\u2019<\/strong> programme announced last year, supported by <strong>Rochdale Borough Council\u2019s Community Regeneration Partnership<\/strong> funding.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"350\" height=\"338\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/dc1483_b2f4daa7ea2b49afa54beab4c347c55bmv2-2.avif\" alt=\"\" class=\"wp-image-25155\" style=\"width:467px;height:auto\" \/><\/figure><\/div>\n\n\n<p><strong>Councillor Sue Smith,<\/strong> <strong>(right)<\/strong> cabinet member for communities and co-operation at Rochdale Borough Council, said: &#8220;I\u2019m pleased to see this progress, helping improve Milkstone Road and putting culture at the heart of regeneration. The work will be in keeping with the theatre and its history, playing on the idea of lifting the curtain through careful use of the theatre&#8217;s signature red.<\/p>\n\n\n\n<p>&#8220;The design also incorporates new signage and better opportunities to promote their fantastic shows to new audiences. We want to ensure the benefits of investments to <strong>Rochdale Station Square<\/strong> extend to the wider neighbourhood too, so it\u2019s a great time to improve another one of our much-loved cultural venues.&#8221;<\/p>\n\n\n\n<p><strong>Danny Groves<\/strong>, business director from the <strong>Curtain Theatre<\/strong> welcomed the support. He said: &#8220;Having a fa\u00e7ade like this on the outside, will send a really strong message to people in the town that this is a special place and we\u2019re very keen to welcome new visitors. There\u2019s great energy inside the theatre too and we\u2019re looking forward to the work commencing.&#8221;<\/p>\n\n\n\n<p><strong>Sarah Castle, director of architects \u2018IF_DO\u2019<\/strong>, added: &#8220;We\u2019re delighted to be supporting the transformation of this much-loved community asset. It&#8217;s been great to learn about the history of the theatre and the people who keep it running, working with the volunteer team to shape an exterior that better reflects the energy they bring to their productions.<\/p>\n\n\n\n<p>&#8220;It\u2019s been a joy to collaborate with such committed, creative people and to translate that energy into a bright new fa\u00e7ade, bold signage and lighting that will give the theatre a more visible, welcoming presence on the street, helping to keep the theatre at the centre of local cultural life.&#8221;<\/p>\n\n\n\n<p>As part of Rochdale\u2019s year as Greater Manchester Town of Culture, the programme is seeing a range of cultural activities being rolled out in the community, alongside major investment at <strong>Heywood Civic, <\/strong>and <strong>Touchstones<\/strong>. You can find out more about the Curtain Theatre including their latest productions at&nbsp;<a href=\"http:\/\/www.curtaintheatrerochdale.uk\/\">www.curtaintheatrerochdale.uk<\/a>.<\/p>\n\n\n\n<p>Improvements to the Curtain Theatre as part of \u2018Made in Milkstone\u2019 is funded as part of Rochdale Borough Council\u2019s Community Regeneration Partnership package from the UK Government, alongside council funding.<\/p>\n\n\n\n<p>Rochdale Development Agency plays a central role in driving regeneration and cultural investment across the borough and the improvements to the Curtain Theatre are an example of that work in action. Through the <strong>\u2018Made in Milkstone\u2019<\/strong> programme, they are co-ordinating enhancements that strengthen local identity, support community\u2011led venues and uplifting neighbourhoods.<\/p>\n\n\n\n<p>Its involvement in the theatre\u2019s fa\u00e7ade transformation alongside wider public realm improvements and cultural activity is how the agency uses place-based investment to boost visibility for grassroots cultural organisations, attract new audiences and ensure regeneration around <strong>Rochdale Station Square<\/strong> benefits the surrounding community.<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>classical music<\/strong><\/p>\n\n\n\n<p><strong>7 THE ROTH GUITAR TRIO<\/strong><\/p>\n\n\n\n<p><strong>a Toad Lane Concert perforemed in February 2026<\/strong><\/p>\n\n\n\n<p><strong>Review By Dr Joe Dawson<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"200\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/roth-guitatr-duo.jpg\" alt=\"\" class=\"wp-image-25199\" style=\"width:470px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/roth-guitatr-duo.jpg 200w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/roth-guitatr-duo-80x80.jpg 80w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/roth-guitatr-duo-36x36.jpg 36w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/roth-guitatr-duo-180x180.jpg 180w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure><\/div>\n\n\n<p><br>This captivating <strong>Toad Lane Concert at St Mary in the Baum<\/strong> was the 1,171st since taking over from <strong>Rochdale council<\/strong> in 2001.<\/p>\n\n\n\n<p><br><strong>The Roth Guitar Duo<\/strong>, formed by <strong>Emily Smith<\/strong> and <strong>Sam Rodwell<\/strong> in 2014 at the <strong>Royal Northern College of Music, <\/strong>has become firmly established in the UK classical guitar scene. Their diverse and engaging programmes of Renaissance pieces to new and unpublished works have captivated audiences across the UK, including multiple invitations to <strong>Manchester\u2019s Bridgewater Hall<\/strong>. Their debut album <strong>Canonica<\/strong> has also received high praise. They aim to push the boundaries of the guitar duo format, such as with commissions from celebrated composers, they have gained a reputation as innovative and forward-thinking. This was evident in today\u2019s wonderful recital.<\/p>\n\n\n\n<p><br><strong>Valseana<\/strong> by the Brazilian <strong>Sergio Assad<\/strong> set a peaceful mood immediately. Their guitars did not need amplification in <strong>St Mary in the Baum\u2019s<\/strong> generous acoustic\u2013 their skilful technique made every nuance crystal clear. This was true of the rest of the programme: a charming eloquent three movement work, <strong>Serenade in A major Op 96<\/strong> by the Classical composer <strong>Carulli.<\/strong><\/p>\n\n\n\n<p><br><strong>Etude Fantasque<\/strong> by the influential and prolific guitar composer <strong>Ida Presti<\/strong>, who died prematurely in 1967, was indeed \u2018fantastic\u2019 with modern colours; plus, the elegant <strong>Fuga Elegiaca<\/strong> by <strong>Mario Castelnuovo-Tedesco<\/strong>, which he wrote in her memory.<\/p>\n\n\n\n<p><br><strong>No 5 Andaluza and No 2 Oriental from Spanish Dances by Granados<\/strong> were originally for piano but became well known transcribed for other instruments and worked superbly with the duo.<\/p>\n\n\n\n<p>Niel Gow\u2019s Lament for the Death of his Second Wife, a traditional C18 Scottish fiddler\u2019s plaintive tune arranged by <strong>Dan Jones<\/strong>, lent itself beautifully to the duo\u2019s treatment. In sharp contrast the finale, a traditional <strong>Congolese Banaha<\/strong> involved re-tuned strings and mesmerising rhythms arranged by <strong>Gary Ryan, the celebrated Head of Strings at the Royal College of Music.<\/strong><strong><\/strong><\/p>\n\n\n\n<p><br>Captivating indeed and fully deserving the accolade of their mentor <strong>Craig Ogden<\/strong> as &#8220;two of the UK&#8217;s brightest young stars of the guitar.&#8221;<\/p>\n\n\n\n<p><strong>The Queen\u2019s Award-winning Toad Lane Concert<\/strong>s every <strong>Wednesday at 12.30pm at the Grade 1 listed church of St Mary in the Baum, Toad Lane, Rochdale, OL16 1DZ.<\/strong> <\/p>\n\n\n\n<p>Entrance fee is \u00a36. Contact 01706 648872 for further information.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"194\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-9.png\" alt=\"\" class=\"wp-image-25196\" style=\"width:181px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-9.png 200w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/sidetracks-and-detours-9-36x36.png 36w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>SIDETRACKS &amp; DETOURS<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>UK FOLK MUSIC:<em> live events<\/em><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>a round up of news from Folk Expo and Sound Roots<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"824\" height=\"1030\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/84f78b29-5cdb-b735-7e36-62d6fcecabbb-824x1030.png\" alt=\"\" class=\"wp-image-25145\" style=\"width:467px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/84f78b29-5cdb-b735-7e36-62d6fcecabbb-824x1030.png 824w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/84f78b29-5cdb-b735-7e36-62d6fcecabbb-240x300.png 240w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/84f78b29-5cdb-b735-7e36-62d6fcecabbb-768x960.png 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/84f78b29-5cdb-b735-7e36-62d6fcecabbb-564x705.png 564w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/84f78b29-5cdb-b735-7e36-62d6fcecabbb.png 1080w\" sizes=\"auto, (max-width: 824px) 100vw, 824px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">8 Attend the Folk Album of the Year Award Gala<\/h3>\n\n\n\n<p>Taking place on <strong>Tuesday 17 March<\/strong>, in the grand setting of the newly refurbished <strong>Rochdale Town Hall<\/strong>, the <strong>Folk Album of the Year Award Gala<\/strong> will feature live performances from the nominated artists and culminate in the unveiling of the inaugural winner.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>LIVE FOLK. <em>Traditional and Contemporary Folk Festivals<\/em><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"824\" height=\"1030\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/line-up-1-824x1030.png\" alt=\"\" class=\"wp-image-25138\" style=\"width:467px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/line-up-1-824x1030.png 824w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/line-up-1-240x300.png 240w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/line-up-1-768x960.png 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/line-up-1-564x705.png 564w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/line-up-1.png 1080w\" sizes=\"auto, (max-width: 824px) 100vw, 824px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>9<\/strong> <strong>Following  the Album Of The Year 2025 Festival at Rochdale Town Hall, The Manchester Folk Festival is spread over three days and all across the city\u00b4s NORTHERN QUARTER, with a stellar line up.<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>10<\/strong> <strong>ANNOUNCING THE &#8216;JERSEY FOLK FESTIVAL&#8217;! <\/strong><\/p>\n\n\n\n<p><strong>SATURDAY 15 NOVEMBER AT L&#8217;AUBERGE &#8211; THE FARM HOUSE IN ST JOHN<\/strong><\/p>\n\n\n\n<p>A Folk festival featuring music, dance and storytelling rooted in Island life will be taking place this month.<\/p>\n\n\n\n<p>ArtHouse Jersey is hosting the Jersey Folk Festival at L\u2019Auberge in St John on Saturday 15 November.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"479\" height=\"635\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/colin1-1.jpg\" alt=\"\" class=\"wp-image-25121\" style=\"width:254px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/colin1-1.jpg 479w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/colin1-1-226x300.jpg 226w\" sizes=\"auto, (max-width: 479px) 100vw, 479px\" \/><\/figure><\/div>\n\n\n<p>The free daytime programme runs from 1pm to 5.30pm, featuring artists including <strong>Sula, Parish 13, Rick Jones, Colin Lever (right) and The Jersey Lillies<\/strong>, with informal \u201cfolk-in-the-round\u201d sessions upstairs in the Ship\u2019s Bar.<\/p>\n\n\n\n<p>From 6pm to 10.30pm, a ticketed evening event costing \u00a315 will feature <strong>Jo Thorpe and Tom Oxenham<\/strong>, the <strong>Shindig C\u00e9il\u00ed Band<\/strong>, and the <strong>Gonzo Gypsy Goodtime Band.<\/strong><\/p>\n\n\n\n<p>Producer Robyn Cabaret said that the festival  \u201cis about more than music \u2013 it is about celebrating the ways people come together through song, dance, and storytelling\u201d.<\/p>\n\n\n\n<p><strong>On Saturday 15 November<\/strong> we&#8217;re so excited to be presenting the <strong>Jersey Folk Festival;<\/strong> a celebration of live music, storytelling and Island spirit transforming L\u2019Auberge &#8211; The Farm House in St. John into a hive of community celebration. Taking place all day and evening the festival is curated by the ArtHouse Jersey in collaboration with <strong>Colin Lever, Jo Thorpe and Tom Oxenham<\/strong> and offers a full day of performances, activities, and folk-inspired revelry, bringing together musicians, dancers, and audiences from across the Island. Expect everything between soulful ballads and punk folk to traditional J\u00e8rriais tunes.<\/p>\n\n\n\n<p>Music from Colin Lever @colinlever Colin &amp; Ross, Gonzo Gyspy Goodtime Gypsy Band, The Jersey Lillies, Jo Thorpe @jo.thorpe.3 &amp; Tom Oxenham @tom.oxenham_and_jo.thorpe Parish 13 @parish_13_jersey Rick Jones @rick_jones_music_jersey Shindig C\u00e9il\u00ed Band @shindig_ceili_band and Sula.<\/p>\n\n\n\n<p>The daytime is free to attend and the evening version costs just \u00a315. Both can be reserved via Eventbrite.<\/p>\n\n\n\n<p>Food and drink will be available throughout the day from L\u2019Auberge\u2019s renowned kitchen, serving lunch between 12-2pm and dinner between 6-8pm, with advance table bookings recommended via Randalls online or by calling 861697.<\/p>\n\n\n\n<p>Tickets for the evening event are \u00a315 and available via Eventbrite. The daytime programme is free to attend, no booking required.<\/p>\n\n\n\n<p><strong>Producer for ArtHouse Jersey, Robyn Cabaret,<\/strong> said <em>\u201cFor ArtHouse Jersey, Jersey Folk Festival is about more than music. It is about celebrating the ways people come together through song, dance, and storytelling. Jersey\u2019s folk scene is shaped by many influences, from local voices to traditions brought here over generations, and this event reflects that mix. It\u2019s a chance to celebrate community in all its diversity, to welcome new audiences, and to share the simple joy of live music made together. We\u2019re thrilled to stage a day where seasoned singers, first-time dancers, and families just soaking it all in can all make memories together. It\u2019s exactly the kind of lived, public culture we exist to support.\u201d<\/em><\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Event Details:<\/strong><\/h4>\n\n\n\n<p>Where: L\u2019Auberge &#8211; The Farm House, St. John<\/p>\n\n\n\n<p>When: Saturday 15 November 2025<\/p>\n\n\n\n<p>Daytime: 1pm-5.30pm (Free)<\/p>\n\n\n\n<p>Evening: 6pm-10.30pm (\u00a315 tickets via Eventbrite)<\/p>\n\n\n\n<p>Food and drink will be available throughout the day from L\u2019Auberge\u2019s renowned kitchen, serving lunch between 12-2pm and dinner between 6-8pm, with advance table bookings recommended via Randalls online or by calling 861697.<\/p>\n\n\n\n<p>Tickets for the evening event are \u00a315 and available via Eventbrite. The daytime programme is free to attend, no booking required.<\/p>\n\n\n\n<p><strong>Producer for ArtHouse Jersey, Robyn Cabaret,<\/strong> said <em>\u201cFor ArtHouse Jersey, Jersey Folk Festival is about more than music. It is about celebrating the ways people come together through song, dance, and storytelling. Jersey\u2019s folk scene is shaped by many influences, from local voices to traditions brought here over generations, and this event reflects that mix. It\u2019s a chance to celebrate community in all its diversity, to welcome new audiences, and to share the simple joy of live music made together. We\u2019re thrilled to stage a day where seasoned singers, first-time dancers, and families just soaking it all in can all make memories together. It\u2019s exactly the kind of lived, public culture we exist to support.\u201d<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>FOLK MUSIC UK CHARTS<\/strong><\/p>\n\n\n\n<p><strong>11<\/strong> <strong>THE OFFICIAL FOLK ALBUMS CHART SHOW<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>collated by Sound Roots and Expo Folk<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1030\" height=\"579\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-1030x579.jpg\" alt=\"\" class=\"wp-image-25142\" style=\"width:340px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-1030x579.jpg 1030w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-300x169.jpg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-768x432.jpg 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-1536x864.jpg 1536w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-1500x844.jpg 1500w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3-705x397.jpg 705w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/charts-3.jpg 1920w\" sizes=\"auto, (max-width: 1030px) 100vw, 1030px\" \/><\/figure><\/div>\n\n\n<p>the <a href=\"https:\/\/us.list-manage.com\/9tNjkOpjbeF?e=87a9652e50&amp;c2id=618025b24325021c11e7f20f9d379b73\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Official Folk Album Chart<\/strong><\/a>, produced by <strong>Sound Roots<\/strong>, featuring the Top 40 best-selling and most-streamed folk albums released during the <strong>January<\/strong>&nbsp;reporting period by British and Irish artists. Listen back to the <a href=\"https:\/\/us.list-manage.com\/GjOn2aABd30?e=87a9652e50&amp;c2id=618025b24325021c11e7f20f9d379b73\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Official Folk Albums Chart Show<\/strong><\/a>, presented by <strong>Folk on Foot<\/strong>, via their YouTube channel for the full rundown of new entries.<br><br>This month\u2019s album chart sees multiple <a href=\"https:\/\/us.list-manage.com\/yaG1f_Ppcjb?e=87a9652e50&amp;c2id=618025b24325021c11e7f20f9d379b73\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Folk Album of the Year Award<\/strong><\/a> nominees climbing the rankings: <strong>Joshua Burnside\u2019s <em>Teeth of Time<\/em><\/strong> jumps from <strong>No. 25<\/strong> to <strong>No. 14<\/strong>, <strong>Poor Creature\u2019s <em>All Smiles Tonight<\/em><\/strong>moves from <strong>No. 20<\/strong> to <strong>No. 18<\/strong>&nbsp;and <strong>Spafford Campbell\u2019s <em>Tomorrow Held<\/em><\/strong> re-enters at <strong>No. 35<\/strong>.<br><br>The latest new entries to the Top 40 and their entry positions are:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>No. 1<\/strong>&nbsp;&#8211; <strong>Nathan Evans and The Saint PHNX Band&#8217;s&nbsp;<em>Angels&#8217; Share<\/em><\/strong> <strong>(Universal)<\/strong> \u2013 The result of eighteen months of <em>\u201ctouring, drinking whisky, becoming fathers&nbsp;and being best friends,\u201d<\/em> Angels\u2019 Share made Stevie Jukes (Saint PHNX) truly realise <em>\u201chow powerful embracing our Scottish identity could be\u201d<\/em> on this chart-topping collaborative debut.<\/li>\n\n\n\n<li><strong>No. 38<\/strong> &#8211; <strong>Eliza Marshall\u2019s Eternal Birth (One World)<\/strong> &#8211;&nbsp;The award-winning flautist channels over two decades of international collaboration into a bold, genre-defying record that celebrates life\u2019s cycles and continuity from conception to death, through nature, ancestry&nbsp;and renewal.<\/li>\n<\/ul>\n\n\n\n<p><em>***Charting artists, to receive chart graphics to celebrate your success please contact info@englishfolkexpo.com.<\/em><em>The Official Folk Albums Chart is compiled by The Official Chart Company and produced by Sound Roots. <a href=\"https:\/\/us.list-manage.com\/ftboBf5HlnJ?e=87a9652e50&amp;c2id=618025b24325021c11e7f20f9d379b73\" target=\"_blank\" rel=\"noreferrer noopener\">The Official Folk Albums Chart Show<\/a> is presented by Folk On Foot with the support of Sound Roots.<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"261\" height=\"193\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/pass-it-on-3.jpg\" alt=\"\" class=\"wp-image-25143\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>CLASSICAL MUSIC<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"169\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/MUSIC-IN-PORTSMOUTH.webp\" alt=\"\" class=\"wp-image-25169\" style=\"width:466px;height:auto\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>12<\/strong> <strong>offering an insight  into a promising music career.<\/strong><\/p>\n\n\n\n<p><strong>EDELYN SPINA<\/strong><\/p>\n\n\n\n<p><strong>speaks to Music In Portsmouth <\/strong><\/p>\n\n\n\n<p><strong>and Norman Warwick takes notes<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>At 7.30pm on <strong>&nbsp;<a href=\"https:\/\/musicinportsmouth.co.uk\/event\/havant-symphony-orchestra-echoes-of-the-isles\">Saturday 28 February<\/a><\/strong><a href=\"https:\/\/musicinportsmouth.co.uk\/event\/havant-symphony-orchestra-echoes-of-the-isles\"><strong>, <\/strong>&nbsp;<\/a><strong>Havant Symphony Orchestra<\/strong> presenmted <strong>\u201cEchoes of the Isles\u201d<\/strong> at <strong>Warblington School, Havant.<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"965\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/FULL-EDELYN.webp\" alt=\"\" class=\"wp-image-25098\" style=\"width:466px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/FULL-EDELYN.webp 1000w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/FULL-EDELYN-300x290.webp 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/FULL-EDELYN-768x741.webp 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/FULL-EDELYN-36x36.webp 36w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/FULL-EDELYN-705x680.webp 705w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/figure><\/div>\n\n\n<p><strong>A week or so before the concert, flautist Edelyn Spina<\/strong> (right) spoke to <strong>Music in Portsmouth<\/strong> about her ambitions for her career as a violinist and multi instrumentalist I wonder what she knows about the 42<sup>nd<\/sup> annual Canary Islands International Classical Musical Festival that we have been reporting on in our last couple of editions of Sidetracks &amp; Detours.<\/p>\n\n\n\n<p>She gave an interview to Music In Portsmouth who carry so much positivity in their on-lines to promote the classical music that be heard in the region and I am happy to repeat that articles here as she tells quite a story about the current steps of her\u00a0 musical journey, and also reveals her passions and ambitions for the music she loves.<strong><br><\/strong><br><em>I began learning the violin when one fell out of a cupboard in my primary school! This chance encounter at age seven led me to play violin, later picking up the clarinet at aged thirteen and viola aged fourteen. I started the clarinet when <strong>West Sussex Music Service<\/strong> offered a free instrument learning programme for seven to twelve year olds and, although I was a year too old, I applied tactically requesting clarinet, flute or cello \u2013<\/em><\/p>\n\n\n\n<p><em>As I already played violin, I had an advantage and quickly took grade three, five and eight receiving distinctions in all. I am particularly proud of receiving 136\/150 in my grade eight despite taking it only a year after my grade five. Around this time, I also took my grade seven and eight violin receiving higher distinctions in both, closely followed by distinction in ARSM diploma on clarinet, that was a busy year!<br><br>I am looking to study clarinet, first study, and violin, second study, at conservatoire. I am currently deciding between <strong>Guildhall with a scholarship<\/strong> and <strong>RCM.<\/strong><\/em><\/p>\n\n\n\n<p><em>I love string quartet music, a current favourite being Smetana\u2019s first quartet, particularly movement two. I also love orchestral works, the top four symphonies that I have played are, in no particular order, <strong>Mahler 1, Sibelius 2, Dvorak 8 and Prokofiev 5.<br><\/strong><br>A chamber piece I would like to play is the <strong>Bernard Herrmann <\/strong>clarinet quintet. Having spoken to clarinettist <strong>Julian Bliss<\/strong>, who has recorded it, I discovered the reason I could not find copies was because no one has published it, which is going to make things tricky. I am hoping Julian Bliss will publish it soon, as he mentioned he might. Bernard Herrmann is known for his film music, particularly <strong>Psycho<\/strong>, and this chamber piece was his final composition before his death.<\/em><\/p>\n\n\n\n<p><em>In <strong>HSO<\/strong> I initially played viola, later moving to first violin and, in <strong>Southeast-Hampshire Youth Orchestra (SHYO)<\/strong> I was principal second violin and am now principal clarinet. I was fortunate to be able to play <strong>Weber<\/strong>\u2019s concertino as a soloist, which I enjoyed thoroughly.<br><br>A recent HSO highlight would be<strong> Sibelius 1 <\/strong>as a first violin, especially the end of the third movement attacca into the fourth. I truly appreciated the full length of my bow in that piece! I love playing <strong>Eb clarinet<\/strong> in orchestras as we often play with the violins and it feels closer to home as it were!<\/em><\/p>\n\n\n\n<p><em>Aside from <strong>HSO<\/strong> I have played with the <strong>National Scouting and Guiding Symphony Orchestra <\/strong>in <strong>Brumell Hall<\/strong> and with members of <strong>The Duchess of Edinburgh\u2019s String Orchestra<\/strong> <strong>and Royal Marines in Horse Guards Chapel, National Youth Wind Orchestra, English Schools Orchestra in Cadogan Hall<\/strong> and the <strong>National Klezmer Youth Orchestra<\/strong>. My favourite was playing principal clarinet with <strong>ESO <\/strong>for <strong>Mahler 1<\/strong> or playing a solo with <strong>NYWO<\/strong>.<br><br>I have enjoyed workshops with <strong>Julian Bliss<\/strong> on <strong>RAF National Clarinet Day <\/strong>and a master class with <strong>Emma Johnson.<br><\/strong><br>Locally, I have led and co-lead the <strong>West Sussex Youth Orchestra<\/strong> and dep on Eb clarinet with <strong>Worthing Philharmonic<\/strong>. I also started a string quartet, <strong>The Martlet Quartet<\/strong>, after attending <strong>Young Grittleton string quartet camp<\/strong>. We have played for various events, and our next concert is for the <strong>West Sussex Headteacher Conference<\/strong>. I also hope that I will one day have the chance to play a violin concerto or part of one!<\/em><\/p>\n\n\n\n<p><em>My family are not particularly musical, my dad played accordion and guitar, and my mum completed her grade three saxophone. In primary and early high school, I considered becoming an architect, interior designer and later, a luthier, but I am now firmly set on music as a career.<br><br>In my spare time I like to design and build theatre set designs for my A-Level, occasionally I try various arts and crafts, take photographs of architecture and read books written from 1850 \u2013 1950. I am a former member of the <strong>National Youth Parliament<\/strong> and <strong>army cadets<\/strong>.<\/em><\/p>\n\n\n\n<p><em>I am now looking forward to a couple of concerts I will be taking part in soon: one with with the<strong> Havant Symphony Orchestra <\/strong>and another &nbsp;with the<strong> Southeast-Hampshire Youth Orchestra (SHYO).<br><br><\/strong><\/em><em>I particularly enjoyed a recent recital given by SHYO concert on <strong>25 January 2026<\/strong>), because I was <strong>principal clarinet<\/strong> in it and played <strong>Beethoven 6<\/strong>, which I had never played before and it\u2019s got a very good clarinet part. It\u2019s quite difficult, so it\u2019s nice to have something to work towards. And then I will be playing <strong>Gladiators<\/strong>&nbsp;and&nbsp;<strong>Phantom of the Opera<\/strong>. I\u2019ve actually played&nbsp;Phantom of the Opera&nbsp;with <strong>Havant <\/strong>before, but I\u2019m now playing it on a different part because I was first violin and now the clarinet. So it\u2019d be quite fun to play the same thing, but on a different side of the orchestra.<\/em><\/p>\n\n\n\n<p><strong><em>The Youth Orchestra<\/em><\/strong><em> does very well to get pieces ready very quickly because we only have two rehearsals. We have two all day ones, and then the concert on the same day as the 2<sup>nd<\/sup>&nbsp;rehearsal day.<br><br>And then the upcoming <strong>Havant<\/strong> concert (on <strong>28 February 2026<\/strong>) is entitled&nbsp;<strong>Echoes of the Isles<\/strong>, where there\u2019s a piece by <strong>Maurice Johnson<\/strong>, which I\u2019ve never heard before (and not many members of the orchestra have either). It was played at the Proms quite a while ago, but it\u2019s actually really lovely. It\u2019s called&nbsp;<strong>Welsh Rhapsodie&nbsp;<\/strong>and it\u2019s got some really pretty violin parts and lovely woodwind solos.<\/em><\/p>\n\n\n\n<p><em>I\u2019ve got into <strong>Royal College of Guildhall<\/strong> on the clarinet, but I play both instruments quite a lot at the moment. And I want to do violin as second study. I\u2019m pretty equal on both.<\/em><\/p>\n\n\n\n<p><em>I\u2019m using this year to do other performances with quite a lot with lots of orchestras. I did quite a lot of playing in 2025 because I needed to build up my track record for my conservatoire application. I was fortunate to play &nbsp;a concertino by <strong>Weber<\/strong> with the <strong>Youth Orchestra<\/strong>. And I\u2019m doing some string quartet work.<\/em><\/p>\n\n\n\n<p><em>As I mentioned earlier, I love to play the Eb clarinet and I\u00b4d like to think that in a few years time I might be successful with that instrument. it would be amazing to begin auditions for orchestral jobs, whether for ballets or operas or on-stage orchestras, as an Eb clarinet player !&nbsp;<\/em><\/p>\n\n\n\n<p><em>Something I really, really enjoy playing, which is an unpopular opinion, is the <strong>Eb clarinet.<\/strong> It\u2019s called all kinds of horrible things, like a squeal stick and more. However, maybe because I\u2019m a violinist, I recognise that the range of the Eb clarinet means that it often plays with the violins, and I hear the violin and the Eb clarinet as bedfellows because of the relative range of each instrument: the Eb clarinet has the sort of the role of the clarinet in a solo instrument and to do the similar sound of a clarinet, but it can go so much higher. So when you need a clarinet sound to play with the violins, that\u2019s what it does. And the lowest note of the Eb clarinet is <strong>open G<\/strong> just as the violin. So it\u2019s very similar range actually.<\/em><\/p>\n\n\n\n<p>It is great to hear a young musician in the early times of her career so in love with her music and its instrument.<\/p>\n\n\n\n<p>Since coming <em>t<\/em>o live here on the island of <strong>Lanzarote <\/strong>ten years ago I have reported on nine <strong>Canary Island&nbsp; International Claasical Music Festivals. <\/strong>They are, quite literally I think, a tour de force: the logistics of touring hundreds of musicians from full orchestras to soloists around the eight islands with hundreds of instruments, ranging in size from piano to piccolo, must be a tour manager\u00b4s nightmare ! Because of their well defined itineraries, though, I have attended concerts played outside on a temporary stage on a beach under the moon and stars, and have even enjoyed several concerts in the huge undersea caves of <strong>Jameos Del Agua. <\/strong>Check out our overall review of this year\u00b4s tour by reading our festival report published on <strong>1<sup>st<\/sup> February<\/strong> and you will find other similar reviews in our easy to navigate archives of over 2.000 editions of my regular blog.<\/p>\n\n\n\n<p>I would love to think I might take a seat in the next decade or so, and hear a girl from the UK playing the <strong>Eb clarinet<\/strong> with any one of the orchestras. If so, I\u00b4d love to talk to her about what successes she might be hoping to enjoy in the twenty thirties and forties !<\/p>\n\n\n\n<p>We don\u00b4t get back to <strong>England<\/strong> these days. At our age four hour flights to British motorways don\u00b4t sound too appealing. Nevertheless you will be able to read a review of the concert on the <strong>Music In Portsmouth<\/strong> web site. We have been told by our UK writiers, Iain and Margaret that classical music is well represented on the busy arts-map of the region and you can find all the details at Music in Portsmouth.!!<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"261\" height=\"193\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/pass-it-on-5.jpg\" alt=\"\" class=\"wp-image-25159\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>COUNTRY MUSIC<\/strong><\/p>\n\n\n\n<p><strong>13<\/strong> <strong>LUCIE TIGER: roaring through country music<\/strong><\/p>\n\n\n\n<p><strong>noted by Norman Warwick<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"92\" height=\"92\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/LUCIE-TYGER-1.jpg\" alt=\"\" class=\"wp-image-25173\" style=\"width:417px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/LUCIE-TYGER-1.jpg 92w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/LUCIE-TYGER-1-80x80.jpg 80w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/LUCIE-TYGER-1-36x36.jpg 36w\" sizes=\"auto, (max-width: 92px) 100vw, 92px\" \/><\/figure><\/div>\n\n\n<p>Her official web site tell us that Lucie Tiger has been  based in Muscle Shoals AL since 2023,and has been making her mark in the heartland of American music. <\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>\u201cLucie Tiger is showing the world what independent country artists can achieve on their own terms\u201d (<\/em>CountryTown).<em>&nbsp;<\/em><\/strong><\/p>\n\n\n\n<p>In November 2025, Lucie Tiger won Country Vocalist of the Year at the 11th Annual Josie Music Awards, held at the Grand Ole Opry, Nashville, and she celebrated her 8th single on the Music Row Country Breakout Chart with&nbsp;<em><strong>Harvest Moon &#8211;&nbsp;<\/strong><\/em>an unprecedented achievement for an independent Australian artist.&nbsp;<\/p>\n\n\n\n<p>To date, Lucie Tiger has had two Top 20 singles, three Top 40 singles and two Top 20 albums in Australia. All bar one of Lucie Tiger&#8217;s singles that have charted were self-penned and among her most notable are&nbsp;<em><strong>Found My Home<\/strong><\/em>&nbsp;(#50) and&nbsp;<em><strong>Everybody Knows Your Name<\/strong><\/em>&nbsp;(#53).&nbsp;<\/p>\n\n\n\n<p>Her 2025 single,&nbsp;<em><strong>Harvest Moon<\/strong><\/em>&nbsp;garnered her first review &#8211; a good one! &#8211; from <strong>Robert K. Oermann<\/strong>, legendary country music author and critic. In the same year, Lucie Tiger was the only country music artist to receive an<strong> Australian APRA AMCOS \u2018Women In Music\u2019 <\/strong>award.&nbsp;<\/p>\n\n\n\n<p>A prolific songwriter, Lucie Tiger won <strong>Country Blues Song Of The Yea<\/strong>r for&nbsp;<em><strong>Gasoline<\/strong><\/em>&nbsp;at the 2<strong>021 Tamworth Country Songwriters Awards <\/strong>and she has garnered numerous top 5 songwriting accolades. Lucie Tiger has played countless songwriters rounds in Muscle Shoals, Nashville, and further afield.&nbsp;<\/p>\n\n\n\n<p>With her band, Lucie Tiger has played many notable venues including Whiskey Jam\u2014where she opened for T<strong>yler Farr<\/strong>\u2014and played the opening night at the <strong>W.C. Handy Festival<\/strong> two years running.&nbsp;<\/p>\n\n\n\n<p>Lucie Tiger was listed in the <strong>Top 25 New Music Critiques in Music Connection Magazine<\/strong> (2024), and her music has been described as \u201c<em>crowd-pleasing blend of classic 1970s Southern rock (drawing influence from bands like Lynyrd Skynyrd and The Allman Brothers) and contemporary country grit, flavored with Crossroads blues\u201d (Country Music News International)<\/em>.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Follow her journey, because this is one highway you\u2019ll never want to get off.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table class=\"has-fixed-layout\"><tbody><tr><td><strong>LUCIE TIGER  Wins Award Then Trades Murder Ballad for Cowboy Love Song<\/strong><\/td><\/tr><tr><td>Early in this new year <strong>American Songwriter  <\/strong>reporte that \u00b4Fresh from winning <strong>Country Vocalist of the Year <\/strong>at the<strong> Josie Music Awards 2025, Grand Ole Opry, Nashville, Lucie Tiger<\/strong> pivots from her murder ballad to serenading cowboys with her latest single, <strong> Love Me Cowboy.<\/strong><br><br>Based in <strong>Muscle Shoals<\/strong>, Lucie Tiger is making her mark in the heartland of America, having achieved her eighth single on the <strong>Music Row Country Breakout Chart.<\/strong><br><br>Known as one of the hardest working artists around town, Lucie Tiger is showing what an independent country music artist can achieve on their own terms. With her band, she&#8217;s played festivals and legendary venues like <strong>Whiskey Jam in Nashville<\/strong> and <strong>Hernando&#8217;s Hideaway in Memphis<\/strong>, all while songwriting and recording her next album.&nbsp;<br><br>Since arriving in the US, Tiger has also kept up her tradition of hosting a regular series of songwriter showcase events that champion female songwriters a tradition that she initiated in <strong>Sydney<\/strong> during the Covid pandemic.&nbsp;<br><br>Lucie Tiger&#8217;s latest single is a tongue-in-cheek plea to be swept off her feet by a cowboy. Co-written with <strong>Mark Narmore, Stephanie C. Brown and Maddye Trew<\/strong>, this romping, fun track shows off Lucie Tiger&#8217;s sassy side.<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"261\" height=\"193\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/pass-it-on-4.jpg\" alt=\"\" class=\"wp-image-25158\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>AMERICANA  MUSIC<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"249\" height=\"203\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/pointiung-the-way-1.jpg\" alt=\"\" class=\"wp-image-25144\" style=\"width:201px;height:auto\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><strong>14<\/strong> <strong>LUCINDA WILLIAMS<\/strong><\/p>\n\n\n\n<p><strong>MAKING AMENDS AND MORE Manchester UK Bridgewater Hall<\/strong><\/p>\n\n\n\n<p><strong>a review by Peter Pearson<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1030\" height=\"842\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/luindA-2-1030x842.jpeg\" alt=\"\" class=\"wp-image-25105\" style=\"width:464px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/luindA-2-1030x842.jpeg 1030w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/luindA-2-300x245.jpeg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/luindA-2-768x628.jpeg 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/luindA-2-705x576.jpeg 705w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/luindA-2.jpeg 1416w\" sizes=\"auto, (max-width: 1030px) 100vw, 1030px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>It\u00b4s been over 30 years since I last went to a <strong>Lucinda Williams<\/strong> concert. Both <strong>Norman Warwick<\/strong> and I attended her <strong>Manchester Apollo<\/strong> concert in the early 90&#8217;s, following which we, and I think many other attendees, vowed never again. The reasons are well documented elsewhere within the pages of this blog.<\/p>\n\n\n\n<p>However time is a great healer and in the last 10 years or so I was prepared to forgive if not forget. The problem is that in more recent UK tours she has either missed out on this area or has been booked at, at least to me, some singularly unattractive venues, most notably <strong>The Ritz Ballroom in Manchester<\/strong> and <strong>Holmfirth Hippodrome<\/strong>. So, when I saw she was playing the <strong>Bridgewater Hall<\/strong> on this tour and having been mightily impressed with her recorded output since that infamous gig and convinced by other factors that the years had mellowed her, I eagerly booked a ticket.<\/p>\n\n\n\n<p>She is now 73 and suffered a stroke in 2020 which has seriously impeded her mobility, needing assistance to walk on stage and inability to play guitar but her voice is in fine form, maybe even better than before the stroke. Her affinity with her audience is now such that non attendees to that 90&#8217;s gig would not believe what Norman and I witnessed.<\/p>\n\n\n\n<p>On this tour she is promoting her new album <strong>World&#8217;s Gone Wrong<\/strong>, playing a string of European venues, including the annual <strong>Glasgow folk roots and music festival, Celtic Connections<\/strong>. The album is a raging indictment of Trump\u2019s America. When she was recently asked when she started putting the album together, this was her response:<\/p>\n\n\n\n<p><em>&#8220;If you mean when did I start getting p&#8212;- off. A long time ago. But this album<\/em><em>\ufeff<\/em><em>, a year or two ago, when I realised that several songs I was writing were dealing with the day-to-day chaos and insanity that we\u2019re going through in the U<\/em><em>\ufeff<\/em><em>S<\/em><em>\ufeff<\/em><em>. It was so juicy that it was too tempting not to write about it. I\u2019ve been doing a lot of interviews and a number of people have said I\u2019m brave singing these songs and that I would annoy a lot of people, I\u2019d not thought about that until they started bringing it up and I\u2019m wondering now if I should be worried. But we have this guy in the White House who wants to be king, he wants to have a monarchy \u2013 we\u2019ve already dealt with that in the Revolutionary War but now here it comes again. He thinks he can snap his fingers and just get rid of things&#8221;.<\/em><\/p>\n\n\n\n<p>The essence of the album is contained in the lyrics to the opening title cut. It&#8217;s about a middle class couple who are struggling to get by and make sense of today\u00b4s world. In attempt to forget their troubles they finally seek solace in music.<\/p>\n\n\n\n<p>Recognising the somewhat bleakness of the album, she says<\/p>\n\n\n\n<p><em>I didn&#8217;t write these songs so people feel like they have to crawl under a blanket and hide. They are supposed to help people have hope. Life goes on she says. We create and we keep creating-music, books, the stage. You gotta keep moving ahead. I\u2019m an optimist, I hope that comes through in the songs when all\u2019s said and done. I think people initially see them as being dark but then they see a silver lining. You can see there\u2019s a light at the end of the tunnel. If you really listen closely most of the songs have a positive message in there<\/em>.<\/p>\n\n\n\n<p>That is the theme throughout the concert. It was not a depressing couple of hours-rather a joyful evening of music and story telling.<\/p>\n\n\n\n<p>I never thought I would say this-but her stage presence is now endearing and captivating. With a capacity crowd and stellar band she delivered a twenty song set. Six of which were from the new album.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1030\" height=\"1006\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band-1030x1006.jpeg\" alt=\"\" class=\"wp-image-25103\" style=\"width:466px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band-1030x1006.jpeg 1030w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band-300x293.jpeg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band-768x750.jpeg 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band-36x36.jpeg 36w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band-705x688.jpeg 705w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/02\/Lucinda-and-Band.jpeg 1394w\" sizes=\"auto, (max-width: 1030px) 100vw, 1030px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p>There was plenty of interaction with her audience. In introducing the band members she mused that maybe the band should have a name, <strong><em>Lucinda Williams and ? suggestions warmly welcomed.<\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Many of the songs were prefaced by a story about their origins. Introducing the song, <strong>Sing Unburied Sing<\/strong>, from the new album she explained that it was inspired by the Southern gothic ghost story <strong>Sing, Unburied, Sing<\/strong> by <strong>Jesmyn Ward<\/strong>, which focuses on a poor Black family in Mississippi facing racism, addiction, and trauma.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Interspersed with the new songs were her fans favourites from her staple repertoire. <strong>Car Wheels On A Gravel Road<\/strong> never sounded better. <strong>Pineola <\/strong>got an airing as did many more. Sadly for me, however, <strong>Lake Charles<\/strong> was not in the set.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>The evening rounded off with a three song encore culminating in standing crowd participation <strong>in Neil Young&#8217;s<\/strong> rousing rocker, <strong>Keep on Rocking In The Free World, <\/strong>followed by her heartfelt thanks to the audience for attending.<\/p>\n\n\n\n<p><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"655\" height=\"677\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/Peter-Pearson.jpg\" alt=\"\" class=\"wp-image-25131\" style=\"width:464px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/Peter-Pearson.jpg 655w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/Peter-Pearson-290x300.jpg 290w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/Peter-Pearson-36x36.jpg 36w\" sizes=\"auto, (max-width: 655px) 100vw, 655px\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>PETER PEARSON <em>Sidetracks &amp; Detours Americana Correspondent<\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>In one word, Lucinda\u00b4s gig was brilliant. I hope you have heard her new album, &#8230;if not you might like to prepare your speakers,&#8230;.its loud !<\/p>\n\n\n\n<p>Thanks Norm for the heads up on the album <strong>Circle And Square by Eric Brace and Thomm Jutz<\/strong> and although, yes, I have heard the album, it is good to learn from you that you heard it on a recent <strong>Bob Harris country show<\/strong> on <strong>BBC Radio 2.<\/strong> I had meant to mention it to you as I know that since I first introduced you to  their music, youhave become a firm fan a firm fan. Howeveer, <strong>Brace &amp; Jutz<\/strong> don&#8217;t seem to be promoting the album very much. I can only assume its because of their other individual commitments. <strong>Thomm Jutz <\/strong>produces a lot of other artists\u00b4 albums and collaborates with quite a few on record projects.However, I\u00b4m sure the plug from <strong>Whispering Bob  <\/strong>can only improve the sales.<\/p>\n\n\n\n<p><strong>Eric Brace&#8217;s<\/strong> tribute to <strong>Peter Coope<\/strong>r, <strong>Nothing Hurts<\/strong>, hit me right in the gut. The album has  a pdf of the lyrics and story behind the songs.<\/p>\n\n\n\n<p>I\u00b4ll be off to the <strong>Transatlantic Sessions at Aviva Studios<\/strong> next week, and I\u00b4m very much looking forward to an <strong>Eric Bibb Concert in March.<\/strong>and I guess he\u00b4ll playing several tracks from his brand new album <strong>Mississippi Blues. <\/strong>I\u00b4m sure you know that, but if not start searching Spotify.<\/p>\n\n\n\n<p>Peter<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/NORM-1030x668.jpg\" alt=\"\" class=\"wp-image-25133\" style=\"width:467px;height:auto\" \/><figcaption class=\"wp-element-caption\"><strong>NORMAN WARWICK: <em>editor of Sidetracks &amp; Detours<\/em><\/strong><\/figcaption><\/figure><\/div>\n\n\n<p><strong>15<\/strong> <strong>when singer writer Josh Ritter went<\/strong><\/p>\n\n\n\n<p><strong>DOWN SIDETRACKS AND DETOURS FOLLOWING JOSH RITTER AND BOB WEIR<\/strong><\/p>\n\n\n\n<p><strong>by Norman Warwick<\/strong><\/p>\n\n\n\n<p>My forty five year old son is an accomplished guitarist and banjo player, but having lived in Seoul &nbsp;for twenty five years he has found it difficult to source relevant material to serve his love of bluegrass and acoustic music. And the recent whirlwind of <strong>K pop<\/strong> music reduced even those few recordings he could find of his own favourite genre of <strong>Americana.<\/strong><\/p>\n\n\n\n<p>For the last twenty five years <strong>Andrew<\/strong> and we, his parents, have lived <strong>Oceans Apart<\/strong> (as <strong>Gary Hall<\/strong> might say). So, over the last quarter century Andrew and I have swapped information to create a massive Venn diagram illustrating a huge shady area populated by singers, songwriters and musicians who now exist in both of our music collections. Andrew and his mum&nbsp; bridge that gap between where we live here on Lanzarote to where Andrew lives in South Kore with his wife and daughter on a weekly three hour Microsoft Team video call. That includes about half an hour that allows Andrew and I to discuss for ten minutes the league placings of our favourite teams of <strong>Manchester United<\/strong> and <strong>Bolton Wanderers<\/strong>, and twenty minutes to update our musical awareness. It thrills me that he has picked up the artists who first led me to Americana music, such as <strong>Guy Clark, Townes Van Zandt<\/strong> and <strong>Emmylou Harris<\/strong> and just occasionally one of us will throw a curve ball into the conversation: <strong>Bela Fleck, Lulu Maro<\/strong> and most recently, <strong>Bob Weir<\/strong>, who sadly died in the early part of this New Year.<\/p>\n\n\n\n<p>I had been aware of his name only as a one-time member of <strong>The Grateful Dead<\/strong>, but when I mentioned his passing to Andrew, my son was already \u00b4mourning\u00b4 a man he considered to be wonderful and somewhat overlooked music.<\/p>\n\n\n\n<p>I read several obituaries that eulogised <strong>Bob Weir\u00b4s<\/strong> playing, verifying Andrew\u00b4s rating of the man, but it has taken a few weeks for the wonderfully reliable <strong>Paste On line magazine<\/strong> to clarify Bob Weir\u00b4s high status, in a piece written by ne&nbsp; of my favourite songwriters, <strong>Josh Ritter<\/strong><\/p>\n\n\n\n<p>He opened his article by saying of Bob Weir, <em>&#8220;his eyes and eyebrows were intense, but within them were great reserves of curiosity and empathy. He seemed like a man who was used to, but still uncomfortable with, being the brightest light in any room.&#8221;<\/em><\/p>\n\n\n\n<p>It had been several years since Josh had hung out with Bob Weir down in Nashville. It was the day of the solar eclipse, and at the exact moment that his plane touched down on the runway, the sky faded to blackness. A dark star event. How proper. They hung out a bit, tried to record a little music, and then said, \u201cSo long, see ya on down the trail.\u201d Bob had perfected the art of saying goodbye without it meaning forever.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"452\" height=\"312\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/josh.webp\" alt=\"\" class=\"wp-image-25123\" style=\"width:468px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/josh.webp 452w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/josh-300x207.webp 300w\" sizes=\"auto, (max-width: 452px) 100vw, 452px\" \/><\/figure><\/div>\n\n\n<p><strong>Josh Ritter<\/strong> <strong>(left)<\/strong> met <strong>Weir <\/strong>through <strong>Josh Kaufman<\/strong>, his musical collaborator and great friend. Kaufman had gotten the opportunity to get to know Weir through a project they had just been working on. Bob told Kaufman about his desire to make a record of songs that reminded him of the Wyoming campfires of his youth.<\/p>\n\n\n\n<p>Kaufman and Ritter were talking over the phone between separate flights to different gigs when he told Ritter about Weir\u2019s dream. Josh Ritter had to put his bags down. He didn\u2019t know all that much about the Grateful Dead, but he knew a lot about campfire songs, and he knew Weir\u2019s craggy, beautiful, world-worn voice. And he knew that it was he who was going to help write these songs. He just knew it.<\/p>\n\n\n\n<p>He didn\u2019t grow up with the Grateful Dead. For all the Deadheads out there, he\u2019ll confess that the first tune he associated with them was <strong>Touch of Grey<\/strong>, and he knows this excludes him from any inner sanctum within the pantheon of Dead fans. But he grew up in northern Idaho, riding the school bus for an hour and a half, listening to classic rock stations coming in from Spokane on a pair of radio headphones that he got for his birthday. He wasn\u2019t positioned to delve into Dick\u2019s Picks.<\/p>\n\n\n\n<p>In addition, there was something frightening about the Dead. First off, there was the name. Secondly, there were unfounded rumours that the Grateful Dead were into drugs. Their art frequently included skeletons and, only mildly less alarming to an Idaho kid, dancing bears. Well, the bears were pretty cute, but the world of the Dead was sprawling, and where to begin?<\/p>\n\n\n\n<p><strong>Ritter<\/strong> had no experience with the alchemical musical explorations the band would embark on every night. He had no idea that their sojourn through America and American history had already profoundly shaped the world that he would soon step into. He was just a kid who loved songs, but this was a universe of music that he had little experience with.<\/p>\n\n\n\n<p>Fortunately for Josh Ritter, none of that came into his mind at all the moment Kaufman talked to him. &nbsp;<\/p>\n\n\n\n<p>\u201cLet me try,\u201d he begged him. \u201cPlease, please, please.\u201d<\/p>\n\n\n\n<p>He already knew a song he wanted to send. At the hotel that night, he recorded a version of &nbsp;<strong>Only a River<\/strong> on his phone and sent it off to Kaufman. He\u2019d written it two decades before, an early song. In it, an older man is telling his memories to a younger one, hallowing the permanence and impermanence of love and returning always to the memory of a riverbed at times long past.<\/p>\n\n\n\n<p>Going back over the song took Josh Ritter back to his own childhood days on the Snake River in Idaho, and when he finished recording Only a River, he quickly wrote another one called One More River to Cross. Next morning, he sent them off to Kaufman, who took them to Weir, and from that moment on, they were trekking.<\/p>\n\n\n\n<p>Ritter had never written much with anyone else\u2014a few verses here and there, a couple failed co-writing experiments. These were proof enough to him that he was a lone wolf when it came to composing songs. It wasn\u2019t that he didn\u2019t like other people\u2019s ideas; it was just that he had always known what a song needed, and this tended to preclude the good ideas of others.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"554\" height=\"382\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/bob-weir.webp\" alt=\"\" class=\"wp-image-25124\" style=\"width:470px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/bob-weir.webp 554w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/bob-weir-300x207.webp 300w\" sizes=\"auto, (max-width: 554px) 100vw, 554px\" \/><\/figure><\/div>\n\n\n<p>But working with Bob turned out to be an education for Josh Ritter more than anyone else. Bob Weir <strong>(right)<\/strong> didn\u2019t just take his songs and sing them; Bob took them into that head of his and rolled them slowly together. Ritter still maintains the image of stirring deep blue paint into a bucket of white paint. The darker paint swirls and marbles the white, never fully combining, trailing its gossamer strands wherever it goes. That\u2019s how Bob treated those songs.<\/p>\n\n\n\n<p>After a few months, Ritter got a recording from Kaufman. It was Only a River, sung slow and noble, Bob\u2019s voice was full of pathos and warmth and wisdom-giving. It was much slower than Josh had originally imagined it, and Bob had given the band room to run. It was a surreal experience. Here was Bob Weir, an older man singing a song that Josh had written when he was 19 or 20. Here was a voice who had actually lived what the song was about, who actually sang the song like he was haunted by the very same memories Josh had only imagined.<\/p>\n\n\n\n<p>Josh realized at that moment that he didn\u2019t want to actually meet Bob yet. The voice that was coming through the speakers was the man he wanted to write about. This was not the Bob Weir that once slept in the Great Pyramid. Instead, his song-writer saw a man out on the trail, riding through the timothy grass and sagebrush, singing under his breath and mostly to himself. Josh could hear him wondering about what had happened to a lost love named Rose, hear him humming as he and his closest companion made their way through empty ghost towns. The young man could see his elder looking down on the herd from a nearby bluff with a storm rolling in over the mesas.<\/p>\n\n\n\n<p>This wasn\u2019t Bob Weir of the Grateful Dead that Josh was writing for. It was Bob Weir the cowboy who had never found that other life. Here was a man set up against a huge sky, thrown into relief by the elements, his voice a chalice full of joy, awe, regret, and hope. At times, the lightning behind him would strike, and all that Josh could see was his rangy silhouette.<\/p>\n\n\n\n<p>He sent a lot of songs to Bob and Kaufman. Writing them wasn\u2019t an easy-hard operation. Josh wrote in a whirl, unlocking his own memories, imagining new ones, listening to all that good old cowboy music that he\u2019d been storing up love for over the years. When he was done with a song, he\u2019d record it quickly, understanding that Bob and Kaufman would take the track and do their amazing swirly work to turn his early versions into Bob\u2019s vision.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"587\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/lyrics-by-joh-ritter-1.jpg\" alt=\"\" class=\"wp-image-25128\" style=\"width:467px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/lyrics-by-joh-ritter-1.jpg 600w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/lyrics-by-joh-ritter-1-300x294.jpg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/lyrics-by-joh-ritter-1-36x36.jpg 36w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure><\/div>\n\n\n<p><\/p>\n\n\n\n<p>Rarely did the song he sent come back the same. Bob adjusted the phrasing, changed some place names, invested the song with himself and his world-famous rhythms and patience. He gave the band room to develop the melodies, room to take ownership and joy in their own additions to each piece.<\/p>\n\n\n\n<p>In the end, Bob recorded nine of the songs Josh sent him. To Josh it seemed almost absurd that Bob would do him such an honour. he kept wondering when the other shoe would drop, when some other more suitable songwriter would take the helm\u2014<strong>John Perry Barlow or Izzo<\/strong>, a <strong>Gillian Welch and Dave Rawlings<\/strong>. But he just kept getting recordings back, and even when the ideas and songs perplexed him, they were beautiful and convincing and enveloping.<\/p>\n\n\n\n<p>When Weir sang, he forgot that he\u2019d written many of the lyrics, in the same way that one forgets an actor on screen is acting. How did he do it, Josh marvelled. How did this old guy keep his mind so open that he was willing to work with some random guy almost four decades younger than he was?.<\/p>\n\n\n\n<p>Josh finally went to meet Bob when he was recording songs for the record in upstate New York with members of The National and some other acquaintances. He was nervous, obviously, but he didn\u2019t have to be. Bob had just come back from town where he\u2019d bought a sledgehammer that he was swinging around out in the yard. He wasn\u2019t swinging it at anybody, Josh remembers, but they\u00b4d never met so he didn\u2019t bother Bob until he seemed done.<\/p>\n\n\n\n<p>The man was exactly as Josh had imagined him to be out there on his horse all those months Josh had been working. He was quiet, and his eyes and eyebrows were intense, but within them were great reserves of curiosity and empathy. He seemed like a man who was used to, but still uncomfortable with, being the brightest light in any room. He was also cordial in an old-fashioned way that made me think of a courtly knight.<\/p>\n\n\n\n<p>Josh Kaufman once told Ritter that he thought the Dead were important because they had taught a generation of people what it meant to be music lovers. He said that young kids were just discovering their own independence and they got to see America by travelling to see the band.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"299\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/R-9144326-1475562575-3080-bob-weit-blnue-mountain.jpg\" alt=\"\" class=\"wp-image-25129\" style=\"width:467px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/R-9144326-1475562575-3080-bob-weit-blnue-mountain.jpg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/R-9144326-1475562575-3080-bob-weit-blnue-mountain-80x80.jpg 80w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/R-9144326-1475562575-3080-bob-weit-blnue-mountain-36x36.jpg 36w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/R-9144326-1475562575-3080-bob-weit-blnue-mountain-180x180.jpg 180w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure><\/div>\n\n\n<p><strong>lyrics by Josh Ritter<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>Listening back to&nbsp;<em>Blue Mountain<\/em>, as Ritter has been doing lately, he realized that Bob had taught him a great deal. He taught Josh to keep an open mind to the joy of artistic creation, to the anticipation of beautiful music and new friends and experiences. He also taught Josh that a song could be anyone\u2019s, could be turned into anyone\u2019s prized possession and steer-stone, no matter how it was written or who wrote it.<\/p>\n\n\n\n<p>Josh didn\u2019t spend much time physically with Bob Weir, but over the year that he was writing songs for&nbsp;<em>Blue Mountain<\/em>, he feels he got to know a side of Weir very well. In that record, the two rode from heaven to Wyoming and back, writing songs as they travelled the trail, driving a herd towards Laramie. They listened to coyotes and wolves and wild dogs. They heard the sky torn asunder by storms. they talked about old loves and wondered about new ones\u2014wondered about new ones, still down the trail.<\/p>\n\n\n\n<p>It was a beautiful trip, and Josh Ritter would &nbsp;do it all over again. And who knows, maybe someday, &nbsp;somewhere in another place they will.<\/p>\n\n\n\n<p>As Josh himself says: <em>Thanks, Bob. See ya on down the trail. Goodnight, all you cowboys, your plains spun and rough, but the angels appeared one time to those such as us.<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>L<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"110\" height=\"110\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/listings-jir.jpg\" alt=\"\" class=\"wp-image-25176\" style=\"width:466px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/listings-jir.jpg 110w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/listings-jir-80x80.jpg 80w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/listings-jir-36x36.jpg 36w\" sizes=\"auto, (max-width: 110px) 100vw, 110px\" \/><\/figure><\/div>\n\n\n<p>live jazz <\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>16<\/strong> <strong>JAZZ AT PROGRESS  Friday 20 February 2026<\/strong><\/p>\n\n\n\n<p><strong>BEN CROSLAND\u00b4S<\/strong> <strong>ALL STAR BAND play the RAY DAVIES SONG BOOK<\/strong><\/p>\n\n\n\n<p><strong>news from Jim Wade at Jazz in Reading<\/strong><\/p>\n\n\n\n<p>When &nbsp;Ben Crosland takes his \u201call-star\u201d band to perform arrangements of the music of <strong>Ray Davies<\/strong>, the lead vocalist, rhythm guitarist and primary songwriter for the rock band <strong>The Kinks<\/strong> they invariably convince any doubters in the audience who fear the concept could not possibly work<\/p>\n\n\n\n<p>Those who had had previously dismissed the idea of a jazz interpretation of the music of Ray Davies as a stretch too far should, think again. Davies is indisputably one of this country\u2019s greatest songwriters, with quintessentially English themes and cultural references, nostalgia and social satire reflected in his lyrics. The songs of the Kinks have become like a modern folk music, a part of the British national consciousness.<\/p>\n\n\n\n<p>But this act has no vocals, so how can this work? The melodies and hooks from The Kinks\u2019 songs, best remembered from Ray and <strong>Dave Davies\u2019<\/strong> wistful vocals, are a gift for interpretation in the jazz idiom.<\/p>\n\n\n\n<p>As Ben himself explains it, he was inspired by listening to Ray perform a swinging version of an old Kinks\u2019 number on acoustic guitar before he (Ben) was commissioned by <strong>Marsden Jazz Festival<\/strong> to write a set of jazz arrangements of Davies\u2019 iconic songs. The result was not just a success, it was a triumph.&nbsp;<\/p>\n\n\n\n<p>Many of Ray Davies\u2019 best known songs feature throughout the set, including other, perhaps, lesser-known ones.&nbsp; It took just a matter of minutes into \u2018<strong>Dedicated Follower Of Fashion\u2019 <\/strong>before invariably &nbsp;capacity audiences are treated to the guitar\/sax pyrotechnics courtesy of <strong>Theo Travis (TT) and John Etheridge (JE).<\/strong> Roars of approval from the crowd and applause were frequent throughout the gig as the <strong>Soft Machine <\/strong>partnership sparred and complemented one another on several numbers.<\/p>\n\n\n\n<p>The gentler paced bossa version of <strong>\u2018Set Me Free\u2019<\/strong> gives <strong>Steve Lodder (SL)<\/strong> more prominence and space as he delivers the first of many sparkling solos on acoustic piano.<\/p>\n\n\n\n<p>He never fails to impress as he switches from piano to keyboards and occasionally playing both at the same time.&nbsp; TT swaps his tenor sax for soprano for <strong>\u2018See My Friend\u2019<\/strong> and beguiles audiences with his virtuosity and versatility once again, before JE contributes some lithe and slippery guitar lines towards the close while the rhythm section add texture to the group sound.&nbsp;<\/p>\n\n\n\n<p>SL moves back to keys for a languid, spacey interpretation of  <strong>\u201cTired of Waiting for You\u201d;<\/strong> BC describes the song as having a \u201cdown-home groovy feel\u201d. Featuring JE\u2019s tremolo guitar sound, BC contributes a liquid, melodic electric bass feature before JE\u2019s gently soaring guitar solo.<\/p>\n\n\n\n<p><strong>Nic France (NF)<\/strong> introduces an appropriately joyous shuffle through <strong>\u2018Ev\u2019rybody\u2019s Gonna be Happy\u2019<\/strong> with JE\u2019s agreeably distorted guitar trading blistering solos with TT on soprano sax before SL takes over on suitably buoyant piano with BC and NF adding a skipping, jaunty rhythm.<\/p>\n\n\n\n<p>As with all of the numbers heard during the performance, the melody of the original song remains intact. <strong>\u2018Days\u2019<\/strong> is a fine example of this in BC\u2019s arrangements and the audience will clearly &nbsp;hear Davies\u2019 lyrics in their head. A relaxed, warm arrangement brings out the gentle nostalgia of the song with lyrical solos coming from SL on acoustic piano and TT on fluent tenor sax.&nbsp;<\/p>\n\n\n\n<p>The first set ends with <strong>\u2018Till the End of the Day\u2019<\/strong> which is given a funky, soul-jazz feel here: led by SL\u2019s Hammond-like keys, with solos coming from TT on earthy tenor sax and JE on guitar, with BC and NF working together to create a powerfully swinging groove.&nbsp;<\/p>\n\n\n\n<p>By the interval, audiences are usually already nominating the gig as the best of the year.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"571\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/ALL-STAR-JAZZ-BAND-1.jpg\" alt=\"\" class=\"wp-image-25178\" style=\"width:465px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/ALL-STAR-JAZZ-BAND-1.jpg 768w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/ALL-STAR-JAZZ-BAND-1-300x223.jpg 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/ALL-STAR-JAZZ-BAND-1-705x524.jpg 705w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>BEN CROSLAND AND THE ALL STAR JAZZ BAND<\/strong><\/p>\n\n\n\n<p>The second half often opens with <strong>\u2018A Well-Respected Man\u2019 <\/strong>given a straight-ahead swing arrangement with TT leading the way on tenor sax and NF exuberant on his first extended solo of the evening.&nbsp;<\/p>\n\n\n\n<p>BC invites the audience to sing along to <em>\u2018Sunny Afternoon\u2019<\/em>. What?! Surely not! But it is fine.&nbsp; The reggae beat works well in conjunction with TT\u2019s tenor sax as he emphasises the hook with squalls of guitar from JE concluding with a virtuosic guitar break towards the end.&nbsp; Despite this, the whole piece has a delightfully relaxed feel.&nbsp;<\/p>\n\n\n\n<p>The catchy rhythm of <strong>\u2018All Day and All of the Night\u2019<\/strong> is delivered superbly by BC and NF with the latter\u2019s crisp drum grooves propelling the famous riff which is delivered in tandem by JE and TT. The rousing riff eventually becomes the jumping off point for a barnstorming solo by JE that reflects his jazz, rock and blues influences.<\/p>\n\n\n\n<p>SL then stretches out on electric piano before the quintet coalesce once more on the high-octane finale.&nbsp; <strong>\u2018Apeman\u2019<\/strong> has a Caribbean feel, a calypso style treatment with SL doubling up on acoustic piano and keys, which combined with JE\u2019s synthesised guitar created the sound of steel drums. TT then strikes out with another expansive soprano sax exploration before the song draws to a close.<\/p>\n\n\n\n<p>The announcement of <strong>\u2018Waterloo Sunset\u2019<\/strong> is invariably met with coos of delight. SL introduces the number with deep, ominous chords on acoustic piano before JE and TT pick up on the theme and BC states the timeless melody.<\/p>\n\n\n\n<p>The final number is introduced by the familiar riff of \u2018<strong>You Really Got Me\u2019<\/strong> played in by SL on keys, producing a spirited soul jazz organ sound supported by BC on electric bass and JE on electric guitar before erupting into two solos, the first from TT on soprano sax followed by JE on blues-rock guitar as SL\u2019s Hammond swirls and churns around him.<\/p>\n\n\n\n<p>There\u2019s always an engaging drum solo from NF before the band return to play us out.&nbsp; Such an incendiary performance over two sets is worthy of calls for an encore and the band often oblige with the B side <strong>\u2018Sittin\u2019 on My Sofa\u2019<\/strong> from the pens of both Davies brothers.&nbsp; The fast, shuffling beat acts as the jumping off point for powerful and incisive solos once again from TT on soprano sax and JE on guitar.&nbsp;<\/p>\n\n\n\n<p>It will take a lot to beat such a breathtaking performance as this superb tribute to the timeless quality of Davies\u2019 songwriting.&nbsp; It will almost certainly be n early cointender for gig of the year ! The primary source for this This article was sourced at Fleece Jazz, (on line) <\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"340\" height=\"340\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/whats-next-1462747__340-1.webp\" alt=\"\" class=\"wp-image-25257\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/whats-next-1462747__340-1.webp 340w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/whats-next-1462747__340-1-300x300.webp 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/whats-next-1462747__340-1-80x80.webp 80w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/whats-next-1462747__340-1-36x36.webp 36w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/whats-next-1462747__340-1-180x180.webp 180w\" sizes=\"auto, (max-width: 340px) 100vw, 340px\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong>our next scheduled publication <\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>Sunday 8th March 2026<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>SIDETRACKS &amp; DETOURS<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>featuring<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>STORIES WE COULD TELL<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>including<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>J P EKINS, classical piano &amp;  JUDITH CHOI CASTRO, CLASSICAL violin<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>ROLAND BARTHES, literary theorist<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>THE EVERLY BROTHERS<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"512\" src=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/coming-soon.png\" alt=\"\" class=\"wp-image-25307\" style=\"width:255px;height:auto\" srcset=\"https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/coming-soon.png 512w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/coming-soon-300x300.png 300w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/coming-soon-80x80.png 80w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/coming-soon-36x36.png 36w, https:\/\/aata.dev\/wp-content\/uploads\/2026\/03\/coming-soon-180x180.png 180w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\" \/><\/figure><\/div>\n\n\n<p class=\"has-text-align-center\"><strong> Sunday 5th April 2026<\/strong> <\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>SIDETRACKS &amp; DETOURS<\/strong> <strong>chapter 2<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>featuring<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>SONGWRITERS &amp; INVISIBLE ANGELS<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>featuring <\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>BILL MORRISEY &amp; GARY HALL<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>by<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>Peter Pearson &amp;<\/strong> <strong>Norman Warwick<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>++ remember that we also publish <em>occasional <\/em>Sunday Editions ++ <\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>containing <\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>news, previews, interviews and reviews<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\">++ <strong>so why not log in each Sunday if you wish to catch up  ++<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>CONTENTS ALL ACROSS THE ARTS poetry and creatiove writing 1 Amy Stansfield 2 Northern Voices and Identity 3 Spoken Word and Young Voices announcing theatre events 4 Heywood Civic Hall re-opens 5 Meet The Hatter 6 Lifting The Curtain classical music 7 Toad Lane Concert FOLK MUSIC collated by Expo Folk and Sound Roots SIDETRACKS [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":25104,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-25092","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorised"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25092","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=25092"}],"version-history":[{"count":51,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25092\/revisions"}],"predecessor-version":[{"id":25610,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/25092\/revisions\/25610"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/25104"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=25092"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=25092"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=25092"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}