Anyone with an interest in live classical music will have the London Philharmonic Orchestra high on their bucket list of must-see ensembles. On Wednesday 22nd January, Southbank Centre’s Queen Elizabeth Hall hosted the orchestra as part of the ‘Moments Remembered’ season. Promising an evening of contrasts, the programme featured modern works by Julia Perry and Evan Williams in the first half, followed by the timeless brilliance of Vivaldi’s The Four Seasons after the interval.

The concert began with Perry’s Requiem for Orchestra (1959), a brief but intriguing piece subtitled Homage to Vivaldi. Although the nods to Vivaldi were subtle, Perry’s use of pizzicato strings and chromatic textures created a compelling atmosphere. The LPO brought an energy and precision to the performance, as expected, but the piece’s short duration, just six minutes, meant it felt more like an introduction than a fully realised statement.

Next came Evan Williams’s Dead White Man Music. With its provocative title, the harpsichord concerto delved into the relationship between classical tradition and modern influences like jazz and minimalism. Harpsichordist Olga Pashchenko delivered a skilful performance, especially in the slow movement, which had a delicate, melancholy beauty. However, while the harpsichord’s role is central to the piece, its traditional nature felt somewhat at odds with the contemporary stylings of the score. The combination didn’t quite work, though the boldness of bringing together such disparate musical worlds was commendable.

As someone who enjoys attending a wide variety of gigs, classical events can sometimes stand out for their brightly lit, formal atmosphere, which often feels a bit stiff and exclusive. The decision to mix things up by including contemporary works alongside Vivaldi was therefore a refreshing and interesting approach, even if it didn’t entirely succeed. While the first half was thought-provoking and showcased the LPO’s versatility, it felt slightly too far removed from the emotional immediacy of The Four Seasons.

After the interval, the concert shifted gears entirely. Vivaldi’s The Four Seasons, arguably the most recognisable work in the classical repertoire, brought warmth and a crowd pleasing vibrancy to the evening. Alice Ivy-Pemberton, the solo violinist, was exceptional. Her playing was full of character, whether in the lively trills of Spring or the stormy virtuosity of Summer. Ivy-Pemberton, appointed Co-Leader of the LPO in 2023 at just 25 years old, boasts an impressive command of Vivaldi’s music, performing with warmth and vitality. Particularly memorable were her delicate phrasing in Autumn and the dazzling precision she brought to the icy intensity of Winter.

Conductor Richard Egarr, directing from the harpsichord, brought a playful energy to the performance. His dual role added a layer of historical authenticity, although I found myself focusing more on the richness of the strings and Ivy-Pemberton’s dazzling solo passages.

Despite the stark contrasts between the halves, the concert was a brilliant showcase of the LPO’s talent. Seeing them live for the first time was a memorable experience, and their performance of Vivaldi’s timeless work alongside contemporary pieces highlighted their ability to balance an innovative programme with the celebration of classical favourites. The attempt to bridge past and present was bold and commendable, even if the balance wasn’t perfect. The evening as a whole was a reminder of how classical music continues its attempts to evolve while honouring its rich traditions.

I’ve been wanting to see H.E.A.T. for ages, and catching up with them in Islington has definitely kicked the gig year off on a high.
On record I have always thought that there was too much cheesy synth in the back of their sound and rather softening it, but live they are a different beast - the synth was subdued, and the band came out of the blocks like a ferocious beast.

Current lineup is: Kenny Leckremo on vocals, Don Crash on drums, Jona Tee on keyboards, Dave Dalone on guitar and Jimmy Jay on bass.
Leckremo is the archetypal metal vocalist. Hair splaying out behind him as he hits notes that no human being should even attempt, holding the attention on stage and giving space to his bandmates to show their stuff too.

The set was explosive. They were on fire from the opening notes of ‘Disaster’, with Dave Dalone shooting out the riffs. Dan Crash and Jimmy Jay holding down the rhythm and melody and Kenny Leckremo an absolute force.

The set was almost all the classic H.E.A.T. numbers and the crowd – pretty well a sell-out – responded, singing along with Lockremo. The pressure hardly let up for the full set and at the end the audience left satisfied by a stunning show.

Earlier, we had sets from Art Nation and the welcome return of Chez Kane. Kane opened the evening with an excellent and well received set, her vocals as strong as ever. Very much a classic rock vocalist, she still has a great stage presence.
Art Nation had a truncated set but managed to show some real power and remarkable fluidity in their material.

H.E.A.T – Set List
1. Disaster
2. Emergency
3. Dangerous Grounds
4. We Rise
5. Hollywood
6. Harder To Breathe
7. In And Out Of Trouble
8. Beg For Your Love
9. Drum solo (including Queen's Slash cover)
10. Back To The Rhythm
11. Living On The Run
12. Straight To Your Heart
13. Bad Time For Love
14. One By One
15. 1000 Miles
16.Nationwide
17. Tearing Down The Walls

Pic copyright Digital Island

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