I know, I know - everyone has one of these posts at this time of year. But in many ways, I think it’s quite normal and healthy to reflect on some of the highlights of the year. I’m not the biggest fan of framing things as ‘Best Of…’ lists, so in this instance, here are some of the things I’ve enjoyed the most across a range of different mediums and art forms this year. I’d love to hear about yours in the comments…
Music
I listen to a lot of music across the year, and my tastes continue to be quite eclectic. For this selection, I’ve chosen three albums released in 2023 by pianists whom I admire greatly; all with quite different stylistic approaches to the instrument, and with bodies of work which will stand the test of time.
Cards on the table - I haven’t always been the world’s biggest Bach fan. Prepare the stake for me. What cannot be denied, however, is that the Goldberg Variations is a stunningly brilliant piece of work, and though there are countless recordings, a new collection by Icelandic pianist Vikingur Olafsson on Deutsche Grammophon is absolutely incredible. I loved his 2020 release Debussy-Rameau, and there is something just very captivating about his playing, alongside a real grace and poise at the instrument.
Polish pianist Hania Rani’s meteoric rise continues apace, with her third album Ghosts appearing during 2023 on Gondwana. I’ve seen her live a number of times, and she, too, is a captivating and engaging player. Ghosts sees Rani incorporating a range of additional keyboards, synths, sounds and vocals alongside the piano, creating a rich textural musical world which is significantly bigger and more developed than her previous work.
As a pianist & composer, an important influence for me has long been the Japanese composer Ryuichi Sakamoto. I was preparing to play a show in Bristol (UK) on 2nd April earlier this year when I saw the devastating news of his passing, and I was pleased to be able to quote the iconic melody from Merry Christmas, Mr Lawrence as a coda to one of my pieces during my performance.
Released just a few weeks into January at the beginning of 2023, his final studio album 12 combines reverb-laden piano and ambient textures in typically sedate and humble fashion. In places, we hear tiny fragments of his utterly unpretentious gift for melody. At other moments, we sense an invitation into the warmth and safety of his enveloping soundscapes, for which he had a such a gift, gaining an insight into the final weeks and months of this most creative of composers, and most gentlest of souls.
RIP, Sakatmoto-san.
Gigs | Live | New Music
In a year in which I have played 55 shows, there hasn’t been as much time to go to live music events as I would normally like. However, it is something I always try to do, as much as possible, especially to support the local music scene here in Leeds, which has a thriving, multi-genre scene.
In terms of live performances, a particular highlight included attending Hidden Notes Festival Vol. 3 in September, at which I especially enjoyed Hannah Peel’s Saturday evening headline set. Leeds-based sitarist and Opera North composer-in-residence Jasdeep Singh Degun’s album launch was a stunning performance of his debut album Anomaly. Alabaster DePlume was one of the wildest and esoteric live shows I’ve seen; Elanor Moss brilliant, Villemin engaging, Squirrel Flower fun.
Artists you should keep an eye on from Leeds include saxophonists Emma Johnson and Jasmine Myra, 14-piece ensemble Ancient Infinity Orchestra and singer-songwriters Rosie Miles and Kindelan. It would be remiss of me not to mention some artists I play and work with, singer-songwriters Chris Brain and Alice Kim, and from further afield producer Josh Semans, and cellist Liz Hanks; all of them brilliant.
Films
One of the highlights of 2023 was the reopening of Hyde Park Picture House - an Edwardian-era independent cinema in Leeds, which had been closed for a number of years for renovation work. Now reopen with an additional screen, it is an absolute staple of creative life in Leeds, which we are so fortunate and proud to have here.
Wes Anderson’s Asteroid City was typically acerbic without ever troubling Grand Budapest Hotel or Moonrise Kingdom for top spot in my favourites list. L’Immensita featuring Penelope Cruz was intense, whilst Fremont was enjoyably understated and dry-witted. Oppenheimer was long; interesting in places, shocking in others. I still need to watch Barbie.
I don’t think I can choose between Name Me Lawand (shoutout to Tom Hodge for great score) and Scrapper for my favourite film of the year, so I won’t - other than to say that they were both extremely enjoyable, supremely poignant, hyper-realist exposés of two contrasting, and not overly positive, experiences of childhood in twenty-first century Britain. Essential viewing.
I was delighted to be invited to collaborate on an co-curated Autumn Mini-Season of piano-centred films at HPPH as Brudenell Piano Sessions. We screened Truffaut’s New Wave classic Shoot The Pianist, which is just great fun; Keyboard Fantasies, a documentary following musician Beverly Glenn-Copeland, who is just great fun; and Coda, the deeply moving and powerful documentary following the aforementioned Ryuichi Sakamoto. If I had my way, it would be on the National Curriculum. We could all learn a great deal from him, his outlook on life, and his approach to creativity.
Curation
Part of my work involves the curation of an event series held mostly here in Leeds, titled Brudenell Piano Sessions, which is:
[Brudenell Piano Sessions is] an established event which seeks to present the wide variety of music that can be performed where the piano is the central - but not exclusive - element. We don't present shows as one genre or musical style, instead, aiming to use the piano as a unifying element for music fans, audiences, artists and members of the musical community in Leeds, the UK and beyond. Whether it's classical, jazz, folk, RnB, ambient, electronic, improvised, experimental, or indeed doesn't fit neatly within these narrow genre prescriptions, it's all welcome, in the same way that ALL audience members are welcome to experience live music together.
The audience for BPS is open-minded, curious and interested and are basically up for anything! The event is based around a showcase format, with 3 equally-billed featured performers all playing a 30-35 minute performance slot, no "headliner" as such, with a short opening introduction from Simeon. We operate on a Pay What You Can (PWYC) basis to aid as great a sense of accessibility as possible.
We hope to provide something unique for audiences, aiding new musical discoveries; providing a fun, meaningful and fairly remunerated performance opportunity; with the overall aim that for all artists and musicians involved, it transcends the expectations, experiences and frustrations that performing can often have.
This year we celebrated our 5th Anniversary with a special All-Dayer event at Brudenell Social Club, which was a wonderful occasion. In total, we featured 16 artists, performers and collectives in 2023, and we have an exciting programme of events shaping up for 2024
I’d love to hear your thoughts on any of the above, especially if you have any music, film, podcast, literary, or other recommendations. Please do pop a comment below.