Built from micro sounds and gestures, this performance investigates noise as a site of musical possibility. Bow noise, scratches, ambience, and fragile textures are expanded and transformed, exposing the physicality and instability of sound. By shifting attention toward what is usually ignored, the work opens a space where noise becomes material, atmosphere, and expression.

Programme:

I don’t understand

Never worth the bother/sin is befitting

Improvisation

I’ll never ever try again

A series of songs, words and improvisations, acting as conversation between body and instrument; this set presents an initial summation of experiments with vocal sampling, MIDI mapping and drumming. The songs explore various concepts, ranging from the absurd to the theological, with some self-deprecation thrown in for good measure.

While more concrete concepts and arrangements are explored in the three songs present in the programme, a central section is dedicated entirely to improvisation, utilising distinct vocalisation, rhythmic breath-work and responsive drumming.

Credits:

Kieran Crowley | composer, arranger, drummer, vocalist

Luke Pinnell | bassist, guitarist

Programme:

flood (Scatterism)

Garni (Les Biologistes Marins)

Anton Sconosciuto presents a trio uniting two of his duo projects, ‘Scatterism’ with Philippa Godsalve and ‘Les Biologistes Marins’ with Beatrice Miniaci.

The two projects, even if positioning themselves in two very distinct sound worlds, share the curiosity for crossing the lines between what is noise and what is sound, what is music and what is interference in this constantly noise polluted era.

Referencing an acoustic musical setting, with drums, harp and flute on stage, they’ll try to create an unexpected soundscape which goes as far as possible from the common knowledge regarding those instruments.

Credits:

Anton Sconosciuto | drums, electronics

Philippa Godsalve | harp, electronics

Beatrice Miniaci | flute, electronics

Not as loud as it sounds.

A stick hits a skin. Something listens, and responds — not with an echo, but with what it has been holding. Orchestral textures surface and collapse. Loops accumulate and break. The system pushes back.

A live work for acoustic drums, electronics, and whatever happens in between.

Credits:

Zhengyi Wang | sound design, sample preparation & live electronics

Yongwoo Lee | visuals

Anton Sconosciuto | drums, sample recording

We are hiking up a mountain. Here and there, we stop tuning in to our surroundings, listening deeply, in harmony with the world around us. Inspired by the sounds, an old alpine folk song resonates within us. Wandering, slowing down, taking our time and arriving in the here and now reveals a magical world full of wonders. Even if the sound source is disturbing, destructive or noisy, it is still part of that very moment, part of this journey. Sometimes the path might be rough, uneven or dangerous, but with the right pace, a good mood and open ears, we will reach our peak, a song on our lips.

All field recordings and visuals were taken in the Alps, and all notes played by the ensemble are derived from spectral analysis of these recordings. Only in the walking parts, you hear variations of a traditional folk song.

Credits:

Severin Salvenmoser | violin, vocals & composition
Joni Williams | flute
Jacob Eynon | horn
Philippa Godsalve | harp
Yiannis Archontides | piano

Mal Seward | filmaker (field recordings and visual material from the Alps)

Daniel is exploring integrating various electronics and effects into his songs with his various instruments. Freezing, looping, creative use of delays and modulations, adjusting parameters in real time, taking sounds from the instruments themselves to create an atmosphere for his compositions to be played over.

Tunes we worked on over the last months, Jazz and Hip Hop.

Credits:

Robert Solt | instrumentals

Solsnd | vocals

What’s worse than one guitarist? A guitarist with six amps! This performance is an exploration of sound in space using a hexaphonic guitar pickup, featuring classic, well- known riffs performed with a humorous approach, as they get manipulated in real time with effects pedals, as well as some original interactive improvisation between the musicians.

Credits:

Avigayil Yacobi Padan | electric guitar

Taha Kagzi | E string
Nic Dalgado | A string
Emily Marks | D string
Chris Zubek | G string
Severin Salvenmoser | B string
Annie Chown | E string

Programme:

Surfacing

Thaw

Drift

Undertow

Saunder is the electronic project of Richard Griffith, a London-based composer and producer, built around jazz-inflected harmonies, live drums and analogue synths. This set moves through four tracks, from the ambient and spacious to driving electronic rhythms, performed live here as a trio of piano, drums and synths.

Credits:

Richard Griffith | composition & keyboards
Angus Vardy-White | synths
Andee Liu | drums

Programme:

Stick Up Kid

Tree Fella

Nothing In The Way

About A Chimp

808 Ballad

Wrench

I Wanna Be On The Floor

Wonder Cure presents their debut live show, MACHINE.

Credits:

Songs written by Owen Nicholson and Isaac Robertson

Noah Bisseker | cello and bass
Oli Ballantyne | synth, bass & piano
Ben Grose | drums

We can make it at Guildhall – but can we make it work beyond training?

Part of the Making It Work series, this post-show panel conversation brings together students, alumni and academics from Guildhall’s Electronic & Produced Music department to explore the creative development of new work and the transition from study into professional practice within the music and sound industries.

Part of Making It Festival 2026, Guildhall’s annual celebration of new, original work.

Programme:

Intro: Show Tune

Erasure

Nesting in Wigs

Outro: Show Tune

This birthmarkhead debut performance is an adaptation of the short story written by R. Cotton Diorama City that follows a bird’s eye perspective that follows four heads of hair, all strangers but connected by one event that takes place above them: “a pigeon manifests itself mid-flight, mid-air in grey space.”

Credits:

R. Cotton | piano & vocals
Kieran Crowley | drums & FX pad

Written & composed by R. Cotton
Set design by R. Cotton
Materials sourced by Catherine & Charlie Cotton

Constructed by R. Cotton & Charlie Cotton

Giant shoe design by Lilly Marie Goodman

Poster artwork by Krzyszstof Zubek

Following sold out performances at Ginny on Frederick, the P.L.P.C. will unveil (for the final time) their most ambitious live shadow puppet performance to date. Expect a feast for the senses, an audio-visual Last Supper, a spectacle to resound through two thousand years of love, pain, sacrifice and betrayal.

For 2026 years crowds have gathered, awestruck and aghast, to watch dramatic restagings of the Easter story. The crucifixion of Jesus Christ has served as inspiration for some of the most totemic artists and storytellers of the last millennia.

Many will be surprised to find that one of the world’s most cutting-edge and enigmatic shadow puppet theatre companies should plot to storm down one of history’s most monumental and well-trodden paths. But rest assured; of the many rumours and legends shrouding the P.L.P.C., one thing remains certain: there exists no narrative stone, however weighty, trodden or worn, they fear unturning.

Credits:

Jack Lambert

Luca Mantero

Mack Pegram

Tess Tomassini

Tegen Williams

Programme:

Introduction (‘Cloudburst’)

The Banks of the Bann

Carrickmannon Lake

The Flower of Magherally

In 1962, the composer Seán Ó Riada argued that “You might compare the progress of tradition in Ireland to the flow of a river. Foreign bodies may fall in, or be dropped in, or thrown in, but they do not divert the course of the river, nor do they stop it flowing; it absorbs them, carrying them with it as it flows onwards.”

What happens to a tradition, then, further along this cycle? When these other influences and concepts are fully assimilated, how far can we push the idea of something being ‘traditional’? In River of Sound 2026, we explore this using non-standard instrumentation to present three folk songs from County Down.

Credits:

Dáire Toal | vocals, keyboards & violin

Edie Bailey | vocals & viola

Jonny Venvell | vocals, drums & low whistle

Emily Marks | cello

The Zeniarai Benten Shrine is one of my favorite places. However, for various reasons, I haven’t been able to go there for a while now, roughly a year. Consequently it has also been a while since my most recent memories there. Being the thoughtful (as in “full of thoughts”) creatures that we are, what we remember changes over time; full passages of events gradually become just snapshots. This piece reflects on that phenomena, exploring musically how I remember one visit to the Zeniarai Benzaiten Shrine.

Credits:

Yusei Hata | violin

Sohee Baek | piano

KRZYSZTOF ZUBEK presents two original short films, and two improvised pieces for piano and drums performed by I Can Hear.

'IDĘ' and 'OGRÓDEK', shot on 8mm in Poland, blur the line between documentary and personal fiction, presenting the inner lives of two subjects through silent shots and spoken word.

The films will frame two improvised pieces performed by I Can Hear [Krzysztof Zubek and Anton Sconosciuto]. The duo, formed at the end of last year, embrace improvised music practices with spontanous, vivid playing, as well as focused intense listening.

Credits:

IDĘ:

Krzysztof Zubek

Natsuki Tanitame

OGRÓDEK:

Krzysztof Zubek

Natsuki Tanitame

Jerzy Bartoszewicz

Maria Bartoszewicz

Improvisation I + II:

Krzysztof Zubek

Anton Sconosciuto