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It's this quality, no doubt, that has seen them claim the holy grail of new indie exposure РІР‚вЂњ a place on the soundtrack album for Twilight: New Moon. Russell Marsden (guitar, vocals), Emma Richardson (bass, vocals) and Matt Hayward (drums) have spent the last 18 months creating a sound which, though it isn't particularly original РІР‚вЂњ both the White Stripes and the Kills have been here in recent years РІР‚вЂњ can at least boast a certain energy.

#Ellie goulding tour florida plus

As well as Hind, pianists taking part include Sarah Nicolls and Noriko Ogawa, together with percussionist Toby Burgess, accordionist James Crabbe and dancer Jonathan Goddard, plus audience volunteers.Р”Р‡rom Southampton by birth, but located somewhere on the American grungy-blues delta in terms of style, this British trio РІР‚вЂњ in the tradition of Bob Dylan and Jack White before them РІР‚вЂњ are not about to let the facts get in the way of the kind of music they want to make.

#Ellie goulding tour florida free

There's also a range of free events during the day as well as a fascinating concert later the same evening curated by Rolf Hind, and devoted to new works involving up to seven pianos, including Charlie Piper's acoustic arrangements of John Adams' Hoodoo Zephyr, and an Oscar Bettison premiere. An appearance by the LabР“РЃque sisters, Katia and Marielle, provides the day with its glamorous high point, with their early-evening recital of works for two pianos including Debussy's En Blanc et Noir, Stravinsky's Concerto for Two Pianos and Luciano Berio's Memory. The 10-day-long Reverb festival, the revamped Roundhouse's most sustained attempt so far to establish a niche in London's classical and new music scene, closes this weekend with a day devoted to a multiplicity of pianos.

Scott can sound broodingly melancholy or explosively emphatic, with a political agenda to match. Scott now debuts his new band and launches an atmospheric album, Yesterday You Said Tomorrow, that reveals just how much this musically visionary and incisively intelligent newcomer has absorbed from the jazz tradition, and then evolved ways of joining it to the insights of Dylan, Hendrix and Thom Yorke. Photograph: Kiel ScottР”Р„t the London Jazz Festival last November, Miles Davis's last great composing/arranging partner, bassist Marcus Miller, shaped his reprises of his late boss's 1980s work around the remarkable trumpet sound of 26-year-old New Orleans-born trumpeter Christian Scott. O2 Academy, Newcastle upon Tyne, Thu Barrowlands, Glasgow, FriР”В¬hristian Scott, performing at Ronnie Scott's this week. This, the annual NME Awards tour, sees them opening up for the Maccabees, the Big Pink and Bombay Bicycle Club. Subscribers to the challenging view that playing to backing tapes is acceptable strategy, the band are nonetheless capable of making indie rock of both Smithsy polish and discernible Libertines slouch, superior to others who have failed in this discipline. Curiously, however, their inspirations are from English indie: this is a group who unselfconsciously claim that music arrived at its apogee with the work of the Field Mice, not a widely held conviction. Taking Katche's role on percussion is someone with just as much understanding of a fiercely direct groove, the legendary Indian drums giant Trilok Gurtu.Р”Р‡rom Florida via New York, the debut EP by the Drums was a whistle-stop tour of US pop iconography: from sun, to surf, to nicely finished harmonies. It's likely that the current Garbarek tour will seek to sustain the same funkier momentum, but longtime fans needn't fear the banishment of the old windswept-landscape Garbarek or pensive, folk-dancing Garbarek, as those persuasive personae still make regular appearances. The extra thrill imparted on that show by the some-time rock drummer Manu Katche, and an audience reaction rather noisier than the familiar Garbarek-induced collective trance, persuaded the ECM label to put out the Dresden concert of a month earlier as the Norwegian's first-ever live album as a leader. Jan Garbarek, that most contained and impassive of saxophonists, was almost caught shaking his booty at his South Bank show in the London Jazz Festival in November 2007.