This new album from Norwegian singer-songwriter Sondre Lerche is his first in four years. The record explores a dissonance he has identified between the “increasingly dystopian world we live in and finding beauty and peace in your private life”, where “falling in love feels more and more like an act of defiance”.
Acrobats was recorded across no fewer than nine studios, Lerche’s eleventh album completed with long time partners and producers Matias Téllez and Kato Ådland, and Vetle Junker, Alexander von Mehren and Jørgen Trœen. There are orchestral arrangements by Sean O’Hagan of The High Llamas, with a substantial body of musicians from the Stockholm Studio Orchestra, Norwegian Radio Orchestra and sundry jazz and classical artists.
What’s the music like?
At times, epic – especially in the album’s core, where the songs Love Is All and Follow The River carry all before them. Lerche wears his heart on his sleeve in songs of unabashed romanticism, which works especially well when combined with his penchant for lyrical directness.
The music is pleasingly off-centre, with the urgent How Much Of This Was Planned also showing a carefree side. The strings of Little Kids curl around Lerche’s observations that “there’s cracks in everything”, while his playful side comes out best in Drive Me Away From You.
Love Is All is one for the romantics, beautifully observed and delivered, with an exquisite dialogue between Lerche and the clarinet of Solveig Wang. Meanwhile the chorus of Follow The River – inspired by an encounter with Mahler’s Resurrection symphony – is warm hearted and given with a ‘glass half full’ energy.
Does it all work?
It does, even if the songs sometimes have a lopsided structure. Lerche sings from the heart, and the arrangements are beauties.
Is it recommended?
It is. Lerche does not enjoy the same profile in the UK he perhaps did around 15 years ago, but this album shows his songwriting – and vocal delivery – are better and more meaningful than ever. In many ways he is the Nordic answer to Rufus Wainwright.
For fans of…Rufus Wainwright, Ed Harcourt, The Divine Comedy, Kings Of Convenience, Midlake
Listen / Buy
Published post no.3,022 – Sunday 20 September 2026
posted by Ben Hogwood, with text from the album’s Bandcamp page.
Darren Cunningham, the man behind Actress, has a compelling musical presence – one that makes his new album Radical Frame an essential listen. Returning to a more spiritual, deeper house music in the form of early Matthew Herbert, Cunningham has made an album of intriguing contrasts, short snippets juxtaposed with sprawling, piano-led house epics.
The text accompanying the album goes deeper: “The idea of the black avant-garde exists, as it were, oxymoronically – as if black, on the one hand, and avant-garde, on the other hand, each depends for its coherence on the exclusion of the other. Now this is probably an overstatement of the case. Yet it’s all but justified by a vast interdisciplinary text representative not only of a problematically positivist conclusion that the avant-garde has been exclusively Euro-American, but of a deeper, perhaps unconscious, formulation of the avant-garde as necessarily not black. Part of what I’m after now is this: an assertion that the avant-garde is a black thing.”- Fred Moten
When we go searching for a Black avant-garde, we have to be prepared to look in unexpected places. The route to a Black avant-garde involves walking down – what some might consider – peculiar highways. Where they see strangeness, a road leading them nowhere, we see nothing but beauty. The paths Darren Cunningham went down, the highways he took to make Actress, are a chapter in the story of the Black avant-garde. Cunningham the footballer. Cunningham the Wulfrunian. Cunningham the ex-footballer. Cunningham the DJ. Cunningham the Londoner. Cunningham the producer. Cunningham the painter. Cunningham the writer. Cunningham the composer. This is where the Black avant-garde in Britain is made. This is where you have to go to find it.
Across an expansive discography of more than ten LPs, Actress has created his own arcane language of hermetic references and inter-dimensional electronic composition.
Radical Frame arrives 18 years since debut album Hazyville, and it feels like an apotheosis. The image realised. We get the full gamut of Actress signatures. Short bursts of broken down music. Tiny sketches of zoomed-in sound. Refracted dance floor heat. And we get more. We get appearances from CASISDEAD on Live By You (another image, another mask) and Rainy Miller (another artist from the provinces, Preston).
Overchord, the centre of the album, is paired with its precursor Live By You. It arrives alongside a video by Anna van der Velde, featuring Cunningham trapped in a luxury prison of his own making, contained but not constrained.
Perhaps Radical Frame is a container for everything that Cunningham has built so far. A frame he is handing over to the next in line. The next artist to make their own way in the Black British avant-garde.”
Make sure you immerse yourself in this one! Radical Frame is out now on Ninja Tune.
Published post no.3,021 – Saturday 19 September 2026
posted by Ben Hogwood, with the majority of text from the album’s Bandcamp page.
Curving Time is what happens when two musicians spend over a decade circling the same question from opposite directions, and finally sit down to answer it together.
Takeshi Nishimoto and Hiroshi Watanabe have individually spent more than twenty years exploring the emotional reach of instrumental music – one through guitar, sarod, and acoustic composition, the other through synthesizers and electronic production. This, their first collaborative release, unites these parallel journeys revealing a musical language where neither electronics nor acoustic instruments take center stage.
It is a sinuous, luminous album which is wholly its own, full of clarity and space where celestial shards illuminate and delight, lingering long after the last note dies away, with each player becoming equal voices in a deeply atmospheric conversation that feels both inevitable and entirely new.
The first track to be made available from the album, Empty Park, is an easy listen, the clarity of the guitar lines coming through against a background of soft reverb. The lines have a languid quality, the music improvised in its own sweet time.
Takeshi Nishimoto is a Japanese guitarist, composer, multi-instrumentalist, and educator whose work spans contemporary classical, ambient, electronic, and cross-cultural music. Classically trained at the University of Southern California, he has developed a distinctive musical voice shaped by European classical traditions, North Indian classical music, jazz, and minimalist composition. He has collaborated with artists including John Tejada, Burnt Friedman, Robert Lippok, and Mike Shannon.
Hiroshi Watanabe is a Tokyo-born electronic music producer and DJ renowned for his deeply emotional, melodic techno and ambient soundscapes. After studying synthesizers at Berklee College of Music and navigating the New York underground, he returned to Japan to forge a distinct sonic identity, with releases under various aliases via Kompakt, Derrick May’s Transmat Records, and more recently InFiné.
Curving Time will be released on Friday 6 November on Lo Recordings.
Published post no.3,020 – Friday 18 September 2026
Fairfield Halls, Croydon Tuesday 15 September 2026
Reviewed by Richard Whitehouse
Ever enterprising, the London Schools Symphony Orchestra ended its season with this wide ranging exploration of music inspired or pervaded by the sea. Conductor in residence Sitali Dewan duly took the podium for a performance of the overture to Ethel Smyth’s opera The Wreckers as more than made up for what it lacked in cohesion with vibrant characterization of its thematic contrasts – energetic, introspective and hymnic – towards a culmination that accorded the ultimately redemptive essence of what is a very human drama tangible focus.
Preferable though it might have been to place Anna Clyne’s Restless Oceans next instead of at the start of the second half, this brief if eventful celebration of female identity lacked nothing in presence. Its alternating rhythmically incisive and harmonically expressive ideas, building to a tersely unequivocal close, was enhanced by a contribution from the musicians that made for a vividly theatrical conclusion. The sort of piece, moreover, that doubtless left its mark on those participants at the World Economic Forum in Davos – where it was first heard in 2019.
Enyi Okpara had been no less assured when directing John Pickard’s Sea-Change. A typically unequivocal instance of his early music, its title refers less to Shakespeare than to the layered eddying of waves, currents and tides; their contrasts in motion given focus by consistency of pulse and a tonal trajectory centred, however obliquely, around E. Music which is visceral as well as inevitable in its progress, this demands a committed response and the LSSO was not found wanting; whether in its impetuous opening phase, mounting aggression at its centre or that remorseless accumulation whose ultimate catharsis is shot through with ominous import. This is a piece written for while making no concessions to younger players, and those tonight clearly enjoyed the encounter as much as Okpara relished making it his own interpretatively.
If it inhabits far more descriptive terrain, Rimsky-Korsakov’s Scheherazade was not without its formal and emotional subtleties in this insightful reading. Thus there was no lack of drama in The Sea and Sinbad’s Ship to offset its repetition of motion and material, while The Tale of the Kalender Prince had no absence of pathos to balance the quirky humour of its call-and-response between brass or thrilling defiance of its last crescendo. Nor was The Young Prince and the Young Princess less than rapturous in the coming together of its contrasted melodies.
A culmination in every respect, The Festival at Baghdad brings back earlier ideas in varied and ingenious guise; all the while generating a momentum that made its seismic culmination the more impressive and the enfolding resignation of those closing pages the more affecting. Throughout this performance, the LSSO principals were heard to advantage – none more so than leader Erin Healy, her rendering of the violin solos that punctuate each movement of a poise and eloquence such as endowed Rimsky’s technical wizardry with unfailing humanity.
A fitting conclusion, then, to a memorable concert that the LSSO rounded off with a lively medley of maritime melodies that evidently went down a storm on TikTok and in which all participants (not least both conductors) gave their collective all in what was a heady encore.
posted by Ben Hogwood, with text from the press release. Pictures (c) Andrew Fox and Hannah Blake-Feathers (bottom)
The City of Birmingham Symphony Orchestra’s 2026-27 concert season launches today, with a family of incredible musicians, choirs and youth ensembles, making music that matters to the people of Birmingham, the West Midlands and beyond. The season’s opening concert marks a special milestone for the CBSO Chorus, which will celebrate its landmark 1,000th performance this evening.
The City of Birmingham Symphony Orchestra (CBSO) season launch follows the success of ‘CBSO in the City’– an ambitious and ground-breaking city-wide music festival, which saw Birmingham’s orchestra deliver over 20 free performances in five days across the city. The event, as with the new season, reaffirms the CBSO’s commitment to engage with the broadest possible audience – and the ensemble’s pride to be Birmingham’s orchestra on the local and international stage.
New season highlights include the CBSO’s return to Coventry Cathedral in November for Britten’s War Requiem, a full cycle of Beethoven’s symphonies, new commissions, and a wide‑ranging programme embracing film, popular music and cross‑genre collaborations.
CBSO: Beatle Mania.
Conductor: Stuart Morley.
Fresh perspectives
The CBSO embraces new energy in this upcoming season with brand-new additions to the orchestra’s creative team. Ilan Volkov makes his debut as Principal Guest Conductor with Bruckner’s 7th Symphony, Messiaen’s Turangalila and a Shakespeare-inspired programme. The orchestra also welcomes its first Composer in Residence, GRAMMY-nominated composer Anna Clyne, who presents the world premiere of her new viola concerto ‘Resonant Forms’ with Lawrence Power, plus performance and recording projects.
New Collaborative Artists pianist Alice Sara Ott, saxophonist Jess Gillam and composer‑producer Rushil Ranjan, will also make their mark. The 2026-27 season will feature major concerto and chamber performances from Alice Sara Ott, solo concerts, presenting and education projects with Jess Gillam and a collaboration with Rushil Ranjan’s Orchestral Qawwali Project, a unique blend of Sufi poetry, Indian Classical dance and symphony orchestra.
Marking history
Kazuki Yamada (above with CBSO CEO Emma Stenning and Director of Artistic Planning Cath Arlidge) and the CBSO mark 200 years since Beethoven’s death in the 2026-27 season with a cycle of all nine of the German composer’s symphonies in 2027, as well as performances of his Violin Concerto and chamber music.
The orchestra also makes its return to Coventry Cathedral for Remembrance Day with a performance of Britten’s War Requiem which marks both the 50th anniversary of the composer’s death and 64 years since the CBSO gave the world premiere of the piece at the Cathedral in 1962. The 11 November performance will be followed by a European tour.
The upcoming season will also delight film fanatics with concerts celebrating 50 years of Star Wars and 75 Years of Bollywood as well as tributes to legendary film composers John Williams and Quincy Jones.
Pop fans won’t be left behind either. On 27 February, the CBSO presents its tribute to guitar legends with music by Black Sabbath, Muse, Jimi Hendrix, Guns N Roses, Queen, David Bowie and more before turning truly Scandinavian with Symphonic Abba on 22 April.
Family favourites and festive fun
Across the season, the CBSO’s Family and Notelets concerts aim to spark a lifelong connection with music. For under‑6s, Notelets interactive performances give children a space to sing, dance and discover orchestral instruments for the very first time. For older children, the orchestra’s Halloween Spooktacular invites ghosts and ghouls aged 6 and over to don their spookiest costumes for a night of Halloween-themed music at Symphony Hall on 25 October.
Christmas at Symphony Hall starts on 5 December with three festive masterpieces by Benjamin Britten, presented in collaboration with choral charity Ex Cathedra, before Kazuki Yamada takes the podium to lead the orchestra in three interpretations of The Nutcracker. Christmas pop favourites from ‘Rudolph the Red Nosed Reindeer’ to ‘All I Want for Christmas is You’ are on the menu for the CBSO Christmas Party on 17 December, then the spotlight turns on the orchestra’s vocal groups for Choral Christmas on 18 December.
Emma Stenning, CBSO Chief Executive, comments: “When I look at this season, I see an orchestra that knows who and what it’s for. It’s not for a particular kind of audience, or a particular kind of music. It’s for Birmingham and for the Midlands, and it’s in demand across the world. It’s for the die-hard orchestral fans, and for anyone who has never been and thinks it is not for them. It’s for the people who have been coming for decades and for the six-year-old who picks up a triangle at the end of a Notelets concert and cannot put it down.”
Kazuki Yamada, CBSO Music Director, comments:“With every season, the relationship between the orchestra and I deepens and strengthens. I am delighted to continue our Mahler cycle, as well as exploring all of Beethoven’s symphonies across this season. I am also looking forward to bringing the orchestra back to Coventry Cathedral for a landmark performance of Britten’s poignant and powerful War Requiem, as well as bringing joyous festive music to Symphony Hall this Christmas. We look forward to welcoming diverse audiences from Birmingham and beyond – everyone is welcome.”
The CBSO would also like to thank the many guest musicians, soloists and ensembles that will join them for the 2026–27 season. For full details, visit the CBSO website.
Published post no.3,018 – Wednesday 15 September 2026
