MQ Things to do – MUSIC

By Miranda Quinney

One of my New Year’s resolutions for 2026 is to extend my cultural horizons. Over the coming issues, I’ll be sharing some of the gems I’ve experienced, both locally and further afield. If you have ideas or hot tips for cultural activities that might interest others, please do send them my way.

For this issue of Barbican Life, my focus is music. There is so much to choose from right on our doorstep, and learning more about music has been high on my agenda.

Half Six Fix – credit Kevin Leighton

The Barbican’s Half Six Fix concerts, with their introductions and explanatory commentary from the conductor, have been a wonderful way to ease myself into a deeper understanding of classical music. Gaining insight into a composer’s intentions and the symbolism behind the music has transformed my listening experience.

Rattling xylophone “bones” and a distinct clop, clop, clop representing a skull tumbling from the scaffold in Berlioz’s Symphonie Fantastique were certainly not what I expected. My thanks go to conductor Sir Antonio Pappano for drawing our attention to these vivid details, which brought the piece thrillingly to life.

One of the added benefits of attending a Half Six Fix is the use of large projection screens positioned around the concert hall. These focus closely on individual performers and the conductor, making their skill and energy palpable and offering clear evidence of the many hours of dedication and practice behind each performance.

London Schools Symphony Orchestra – credit David Monteith-hodge

I also had the chance to attend a recent London Schools Symphony Orchestra concert, featuring musicians aged 14 to 17 – an opportunity to witness the rising stars of tomorrow. They did not disappoint.

The programme ranged from selections from Prokofiev’s Romeo and Juliet—including Montagues and Capulets, familiar to many as the theme tune for The Apprentice—to pieces being performed for the first time. While that particular piece was instantly recognisable, much of the rest of the programme was entirely new to me.

Initially, I wished I had collected a programme beforehand. Once I had borrowed one from a neighbour, however, it provided essential context for what I had assumed were separate experimental works. The programme notes explained the context for the incorporation of sounds usually associated with warming up: squeaks, squawks, the stroking of double bass bodies, and even the rustling of newspaper. I was enlightened at how broad classical music can be. I discovered that the inspiration behind C.J. Brooke’s Tower Hamlets Cemetery Park in 9 Fleeting Moments was to celebrate a soundscape of natural and urban life, from magpies to motorbikes. , hence the inclusion of such a range of unusual sounds. I left feeling that my classical music boundaries had been very thoroughly—and enjoyably—extended.

It then felt like the right moment to turn to something less structured. I was delighted to find myself on the guest list for a recent Sofar Sounds event.

For the uninitiated, Sofar Sounds was born out of a reaction to the way many live performances are now experienced through mobile phone screens. Its founders were inspired by the idea of inviting friends and musicians to perform in a living room—intimate events where friends supported friends. While the concept has grown, that ethos remains. Venues now include unexpected locations such as art galleries, hairdressers, and architectural or community spaces.

Details of the venue are revealed just 36 hours before the event, with only the nearest tube station shared in advance. The names and genres of the performers remain a mystery until the music begins.

I attended a gig close to Barbican tube, which turned out to be the modern livery hall shared by the Worshipful Company of Farmers and the Worshipful Company of Fletchers. Three artists performed.

First was Fran Lusty, a Norwegian-English indie-folk singer-songwriter who shared the inspirations behind her heartfelt melodies. Next came Kerensa, who plays the guzheng and sings in both English and Mandarin, combining operatic strength with a fairytale lilt. Finally, there was Tamaraebi, whose work is shaped by his experiences growing up as a Nigerian raised in Nairobi and Leeds.

Each artist sang from the soul, generously sharing their stories. Chatting with other audience members, I heard about Sofar Sounds gigs featuring household names such as Hozier, alongside emerging beatboxers and experimental artists. Venues have ranged from tiny rooms with cushions scattered on the floor to grand spaces like the Reading Room at the British Museum . Many also offer a bar. I will certainly be signing up for more!

Sofar Sounds – credit Project May Media

If, like me, you fancy expanding your musical horizons in 2026, you can find further information about events including Half Six Fix and London Schools Symphony Orchestra at Barbican.org,uk. To sign up for Sofar Sounds, visit: www.sofarsounds.com

MQ Things to do – MUSIC