‘Growling through the trombone is a new one for me,” admitted one musician between performances of Ailís Ní Ríain’s work Holocene. Bradford Cathedral echoed with squawks, rattles and primordial grumbling as the combined forces of Onyx Brass and Hammonds Band conjured Ní Ríain’s vivid soundscape of life on Earth 11,000 years ago (imagine prehistoric megafauna getting the Jaws treatment). But those lower brass growls weren’t the score’s most daring feature. That honour goes to the four percussionists who teased waves of soft rustling from cymbals with small battery-operated vibrators.
All in a day’s work at the New Music Biennial – now in its fifth iteration and hosted this year in Bradford, UK City of Culture 2025, before the same lineup of 20 short pieces decamps to London’s Southbank Centre in July. Most weren’t strictly world premieres (nor is the Biennial strictly biennial) but as a free showcase of activity across the UK music scene, there’s nothing quite like it. Folk, jazz and electronic artists appear alongside classical ensembles – though such labels mean little when most of the featured music crosses such boundaries as standard.
