Live Review: The First Edition

Live review

THE FIRST EDITION CONTEMPORARY MUSIC

AT CRANLEIGH

I S S U E N O . 1 M AY 2 0 1 8

ISSUE No.1 CONTENTS 5. REVIEW Mr Schofield-Newton reviews Cranleigh Live

11. LEAVERS Upper Sixth musicians share their experiences

13. DON'T WORRY, BE HAPPY

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Creating 'feel good' music

15. CHAMPIONS OF PUNK Keeping the rebellious attitude alive

17. SUPPORT Cranleighans' respect for the achievement of others

19. 10,000 HOURS The importance of time and quality practise

21. STRINGS TO THEIR BOW The string section is here to stay in contemporary music

23. LEARNING IN THE MOMENTS Formative opportunities and embracing mistakes

27. COLLABORATING

25

Partnership in accompanying

29

35

31 8. OPEN MIC NIGHTS 9. TAKING THE LEAD 25. VOICES 29. TIRELESS DEDICATION 31. REPERTOIRE REIGNS

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33. PRACTISE TIPS 35. ALUMNI 37. SPEECH HALL 40. SFL

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GEORGE ROYALL HEAD OF CONTEMPORARY MUSIC

The stage is set.

Guitars are tuned.

Adrenaline levels are peaking. Despite a shortage of wine glasses (ably solved by Mr Rothwell) and a last minute soundcheck, everything is ready for ‘Cranleigh Live: VII’. Pupils from the Lower School fill the gallery overlooking the stage, in a manner not dissimilar to Shakespeare’s Globe Theatre, and students in the Sixth Form huddle cross-legged on the floor in front of the stage, eager to witness their friends perform and revel in the shared experience. The Emms Centre atrium provides a unique venue for hundreds of Cranleighans, parents and staff to gather on the penultimate evening of the Lent term to see and hear live music as a community.

EDITOR GEORGE ROYALL PHOTOGRAPHY LILLIAN SPIBEY

Contemporary Music is by no means in its infancy at Cranleigh. Students have long enjoyed the informal nature of popular music styles under the masterful and caring guidance of Phil Lockhart and Chris Maxfield - and long may they continue to do so. Photos and recordings of Contemporary Music Evenings, Informal Concerts, Rocsoc, and RockSchool showcases exist alongside Concertos, Symphony Orchestras and Choirs along the Music Department corridors and in the archives. The differentiation between Western Classical and Contemporary styles may be obvious to some but in music education, “music is music”. With these words from Head of Performance, Richard Saxel, ringing in my ears, and student musicians like Jonny Marsh leading the way, we look forward to bringing an even broader range of styles to students' ears at future concerts.

Just as the new van Hasselt Centre and improved gym and fitness facilities will give classes and elite athletes superb environments in which to learn and train, there are plans afoot to develop a new live music venue in the Music School. Located at the top of the Merriman Music School, the Band Room (formerly the old Library and Sixth Form Room c.1900) will resemble a ‘club style’ venue with permanent stage,

sound and lighting rig. These surroundings will allow musicians to hone their stagecraft in front of small, intimate audiences throughout the year and will further expand opportunities to host professional acts and workshop performances. It was in this very space, albeit in transition from rehearsal room to venue, that Kamsi, James and Ted debuted their new material at an ‘Open Mic Night’ in late 2017. I am keen to see more acts follow a similar trajectory, by making their debut appearance in the Band Room before taking to the larger stages of Cranleigh Live and Rocsoc. Musicians we first see on Cranleigh stages could end up on far bigger ones in future. Glastonbury is calling.

I am excited to see that we have such a strong group of musicians involved in contemporary music throughout every year group. In years to come, the students currently in the Lower School will be raising the bar and taking the lead by building on the excellent example already being set by our departing Upper Sixth. We have musicians growing their passion in so many genres and disciplines and I hope to keep this momentum moving ever forward into new areas and influences in the coming terms.

I am ever thankful for the support of the Cranleigh community at contemporary music concerts. On behalf of all the acts I would like to thank the people who have contributed to the success of this show and others this year; Chris Maxfield, the Music Department team, George Veys (SFL Group UK), instrumental teachers, Mr Ellis, Macca Garlick (Cubitt, LV), Housemasters and Housemistresses, tutors, parents, the Domestics and Catering teams. Whether it is the comfort found in a dorm room or the pride taken in stepping onto our hallowed stages or pitches - we never take for granted the network of people who enable us to pursue our passions.

Leadership, ambition, dedication, support, self-expression, independence, inspiration expect these themes to feature throughout this magazine in relation to the successes of our individual musicians and the Cranleigh ethos as a whole. I hope you enjoy reading.

If you have any comments, please write to: GCR@CRANLEIGH.ORG

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CRANLEIGH MUSIC PROUDLY PRESENTS

c r a n l e i g h

LIvE CHARLIE ANDREWS . TABZ FRANCIS . NATALIE GILLOTT . MAX GRISLEY . FREYA HOUGH PIPPA LOCK . JONNY MARSH . JAMES MCCORMACK . GEORGE PETTIFER RAFE SCOTT . HARRY SIMMONDS . TED WALLIKER . KAMSI ORAZULIKE . ALLY FROST THEO CANHAM . CAM STATHER . ZOE BRUNE . RUBY DICKSON . REUBEN GRAY MAX HARTLEY . ELSA HARDCASTLE . MILLIE MAZZONE . GEORGIA MURPHY KIKO LIU . CHARLIE WILSON-HARRIS . HONOR REID . ZOE BICKENSON . WILL GRAINGER CHARLIE PHILLIPS . LINA MAZZONE . NOAH CHARLESWORTH . BEN MURPHY HENRY RIGDEN . JAMES PATIENT . MAX MARTIN . ZAC PARTRIDGE CAMERON READER . JESS EDWARDS . JESSE DUNBAR . WILL WILKINSON BASHY SLATER . SCARLETT STEHLIK . DOM FELLOWS

21.3.18 19.30 emms 3

'ORIGINAL' - THE GARDENERS KAMSI ORAZULIKE, JAMES MCCORMACK 'LOST ON YOU' - LEWIS CAPALDI ZOE BRUNE, CHARLOTTE WILSON-HARRIS 'LOSE MY MIND' - DEAN LEWIS CHARLOTTE WILSON-HARRIS, GEORGIA MURPHY 'HEY NOW' - LONDON GRAMMAR MAX GRISLEY, TED WALLIKER 'WHEN' - DODIE CHARLOTTE ANDREWS 'STRONG' - LONDON GRAMMAR CHARLIE ANDREWS 'NEED THE SUN TO BREAK' - JAMES BAY JESSE DUNBAR, CAMERON READER, ZAC PARTRIDGE 'GRACE' - RAG 'N' BONE MAN CHARLIE PHILLIPS 'TEARS IN HEAVEN' - ERIC CLAPTON BEN MURPHY, WILL WILKINSON, HENRY RIGDEN 'XO' - EDEN BEN MURPHY, NOAH CHARLESWORTH, WILL WILKINSON, HENRY RIGDEN 'MAKE YOU FEEL MY LOVE' - BOB DYLAN PHOEBE GOING, WILL GRAINGER 'CHEMICALS' - DEAN LEWIS MAX MARTIN, HARRY SIMMONDS 'RUSH' - LEWIS CAPALDI & JESSIE REYEZ TABZ FRANCIS, HARRY SIMMONDS 'HEY THERE DELILAH' - PLAIN WHITE T'S REUBEN GRAY 'I LIKE TO SMILE WHEN I'M SAD' - FREAK THEO CANHAM, JAMES MCCORMACK, CAMERON STATHER, RAFE SCOTT 'PAPERTRAILS' - DARKSIDE RAFE SCOTT, TED WALLIKER 'IF I AIN'T GOT YOU' - ALICIA KEYS JESSICA EDWARDS 'SAY SOMETHING' - GREAT BIG WORLD SCARLETT STEHLIK, BASHY SLATER 'PROUD MARY' - CREEDENCE CLEARWATER REVIVAL JONNY MARSH, TED WALLIKER 'RISE UP' - ANDRA DAY HONOR REID, ZOE BICKENSON, LINA MAZZONE 'FAST CAR' - FAST CAR NATALIE GILLOTT, GEORGE PETTIFER 'WRECKING BALL' - MILEY CYRUS RUBY DICKSON, KIKO LIU 'UNDER THE BRIDGE' - RED HOT CHILLI PEPPERS JESSE DUNBAR, ZOE BICKENSON, JAMES PATIENT, MAX HARTLEY, BASHY SLATER 'I CAN'T MAKE YOU LOVE ME' - BONNY RAIT PIPPA LOCK, FREYA HOUGH 'CRAZY IN LOVE' - OH WONDER ELSA HARDCASTLE, MAX GRISLEY, TED WALLIKER, JAMES PATIENT, HARRY SIMMONDS, DOM FELLOWS 'DON'T WORRY BE HAPPY' - BOBBY MCFERRIN ELSA HARDCASTLE, MAX GRISLEY, TED WALLIKER, JAMES PATIENT, HARRY SIMMONDS, DOM FELLOWS

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WILL, BEN & HENRY WERE INSPIRED BY ERIC CLAPTON'S ICONIC 1992 MTV UNPLUGGED VERSION OF 'TEARS IN HEAVEN'.

WILL WILKINSON/CUBITT BEN MURPHY/LOVEDAY HENRY RIGDEN/LOVEDAY LOWER FIFTH

VII REVIEW There were PLENTY OF familiar faces gracing the stage

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Cranleigh Live VII was once again an enormous success. It is always a delight, as a teacher, to see so many students in a completely different environment to the classroom, and see the multiple talents that they all posses. The Emms Atrium this time provided the setting, as has become tradition, and it produced a slightly more casual vibe that promoted the multi-genre show. There were many familiar faces gracing the stage, but what is particularly humbling is the desire of many fresh faces, individual artists and groups to enter the fray and showcase their talents.

As always, the quality of performances across the board was excellent; the many hours of dedicated practise was clear to see. Although I may have had my particular highlights, I do not think it would be fair to detract from anyone's achievement to mention them here. Every single one of the students should be commended and congratulated for being able to stand up in front of that audience of peers, parents and teachers alike and deliver such professional performances. To those who were involved

I take my hat off to you. Special thanks should go to the music staff and visiting instrumental teachers for organising a fantastic evening of contemporary music, in all its guises, and ensuring the smooth running of the show from act to act.

JACK SCHOFIELD-NEWTON

Cranleigh Live will return in the Michaelmas Term on Tuesday 16th October at 8:15pm in the Speech Hall.

KAMSI ORAZULIKE NORTH/UPPER SIXTH

PENNING ORIGINAL LYRICS IS A TIME-HONOURED AND POWERFUL MEANS OF EXPRESSION

CHRIS MAXFIELD GUITAR TEACHER

80 GRADE 8s AND COUNTING Ben Browning (OC, North) celebrated achieving his grade 8 guitar exam last summer as he commenced the first week of the Contemporary Music Academy as a tutor. He would be teaming up with another of Chris' former students, George Wilkinson (OC, East) who soon entered into the friendly competition of who gained the higher mark! At the time of writing, Chris has sent his customary iMessage giving the update that Max Hartley (Cubitt) has just been awarded grade 5 distinction and is on track to take his grade 8 in the Summer term of 2019. Thank you to Chris for his continued support and care of all his students.

"Kamsi and James opened the show with original material built from drum & bass tracks on an iPhone, blended with James' mellow choice of clean guitar chords and licks played through a loop pedal.

Kamsi's trailblazing lyrics offered up something for younger rappers to aspire to. Penning original lyrics is a time-honoured and powerful means of expression. We will be seeing more Cranleigh musicians sharing their writing at future gigs soon!"

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THINK BIG. START SMALL. learn fast.

FROM THE SMALL STAGE TO THE BIG STAGE The "Growth Mindset" is a concept regularly promoted at Cranleigh. There is room to grow. Music performance is no exception. For some, the very idea of performing to large numbers is what drives them forward in their practise and development. For others, it can be the last thing on their mind.

The structure is in place for musicians to "think big" and aim to perform ambitious material in front of large audiences, but they can "start small".

Each term there are opportunities for musicians to perform in the Band Room and VCT to small audiences.

It may be an informal performance of new songwriting, a night of music in a specific style or a set performed by one group of musicians. Musicians will be free to experiment in a venue permanently setup to make the most of the time available in busy schedules. The space is also designed to be flexible and user-friendly to give musicians and crew the experience of running a professional venue.

In the Michaelmas and Lent terms there is a 'Cranleigh Live' concert. This takes place either in the Speech Hall or Emms Centre atrium in front of an audience of approximately 500.

At the end of the Summer term are two performances of 'Rocsoc'. This is the flagship contemporary music event which brings together all styles of popular music in a fantastic spectacle of a show. Rocsoc brings together ensembles and soloists into sets of music to dance and rock out to in a tour-de-force of formidable sound and light.

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open mic [1]

In Janurary 2017, Cranleigh UK hosted a

and Ted Scott got to see how former

group of musicians from Cranleigh Abu

students Henry Rigden, Ben Murphy,

Dhabi. As part of their programme of

Max Martin had grown in terms of their

working alongside their UK counterparts

musicianship. The Open Mic Nights also

they watched and performed in an "Open

offer the opportunity for students who

Mic Night" in the VCT to an audience

have never performed before to take to

of students, families and staff. This

the stage. This year's showing has seen

was the first of what will hopefully be

Ruby Dickson and Kamsi Orazulike take

many collaborations between the three

performances from these nights to the

Cranleigh

wider audience of Cranleigh Live. The

schools

in

contemporary

music.

goal is for these nights to be as inclusive as possible and in future there are plans

For

[2]

the

younger

from

to invite performers from other schools

Cranleigh Prep School it was the first

and the wider community to take part to

time that they had the opportunity to

grow our network. I believe that talent

perform

grows talent and Open Mic Nights are a

alongside

musicians

older

musicians

from Cranleigh UK and Abu Dhabi.

catalyst.

Prep School pupils like Jamie Tappin

1. AHAVIA AHMAD & VICTORIA LEWIS (CRANLEIGH ABU DHABI) 2. BEN MURPHY 3. JAMIE TAPPIN & TED SCOTT (CRANLEIGH PREP SCHOOL) 4. RUBY DICKSON

[3]

[4]

talent grows talent. open mic nights sow the seeds.

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"A LEADER IS ONE WHO KNOWS THE WAY, GOES THE WAY AND SHOWS THE WAY" - John C. Maxwell

Musicians can easily identify leaders, pioneers, influencers and trailblazers in the industry. Young musicians in particular often strive to emulate their heroes and are able to blend influences in what they create. "Frank Ocean didn't become an R&B star by cribbing from just the Hall of Famers of his genre. He nods to one of soul's true greats, Stevie Wonder, by using his trademark melodic keyboards, while the soft quavers in his voice recall Aaliyah. But the soothing guitars of The Bends-era Radiohead are just as important to his rich, often melancholy scores, and the vivid characters in his songs are as colorful as David Bowie's larger-thanlife creations." - Editor's notes, Apple Music.

Many artists are supported by influential, multitalented producers. Producers may not be in the limelight but they can be pivotal in shaping the creative vision of an artist. They empower them.

Music Technology students in Music Technology classes will be well aware of my producer heroes; George Martin, Dr Dre, Andrew Scheps, Joni Mitchell, Rick Rubin, Butch Vig and Jimmy Iovine.

All of these producers project the positive traits of being hard-working experts and leaders in their field. By encouraging young musicians to explore the positive traits of their role-models, they will in turn have the means to reflect these traits and become leaders themselves. I would like to pay tribute to a number of Cranleigh musicians who have been doing just that in the last 12 months.

In the Michaelmas term, Jonny Marsh performed Franz Strauss’ Horn Concerto in C Minor with the Merriman Concert Orchestra and was part of the superb cast of Chicago only days prior to his Cranleigh Live performance. Here is a young man cutting an exciting path in music, never shying

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from detail or hard work in pursuit of his passions.

It is encouraging to see that a musician like Jonny is free to explore all branches of music.

His performance of 'Proud Mary' energised the audience from the first chord and they followed him in harmonious call & response through each chorus. Jonny is a leader because he sets a great example to others by demonstrating there are no boundaries between styles of music.

We got to hear some stylish girl/boy vocal chemistry in Elsa Hardcastle & Max Grisley's cover of 'Crazy in Love' - inspired by Oh Wonder.

Ted's hallmark accompaniment on Fender Rhodes topped off their performance. This motivated team of musicians lead the way because they consistently take up ambitious projects and see them through in their spare time.

Since the first Cranleigh Live held in the Speech Hall in 2016, Max has been at the centre of some of the most exciting collaborations and performances within contemporary music. His cover of "Ain't No Sunshine" showed how he is prepared to embrace his own style and bring people together to create music for audiences to enjoy. Beyond his stage presence, Max shows us that there is also a huge responsibility for Sixth Form students to shoulder by being instrumental in nurturing younger students within their house and the wider school.

Max himself would have been in the audiences of past contemporary music evenings and RocSocs and set his sights on appearing on those same stages. I am grateful for students like him who spread an infectious enthusiasm amongst others and encourage the next generation to get involved.

MAX GRISLEY/CUBITT/UPPER SIXTH ELSA HARDCASTLE/WEST/LOWER SIXTH

JONNY MARSH LOVEDAY/UPPER SIXTH

big wheel keep on turnin' proud mary keep on burnin' rollin', rollin', rollin' on the river - JOHN FOGERTY

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ROCSOC 2014

HARRY SIMMONDS (EAST UVI) joined Cranleigh in the Fourth Form as a music scholar. Harry has studied GCSE Music, A Level Music and A Level Music Technology alongside Business Studies. Harry plays jazz & contemporary styles of piano, guitar and saxophone.

He has been a member of the Big Band and Symphonic Wind Orchestra and has performed in numerous concerts during his time at Cranleigh and is looking to forge a career as a songwriter and performer.

WHAT MUSIC/MUSICIANS INSPIRE YOU? My taste in music is ecclectic and I drag a lot of my inspiration from what I’m currently listening to - which changes almost daily! I like listening to music that's original and contains fresh ideas.

WHAT DO YOU THINK ABOUT PERFORMING AT CRANLEIGH? Playing to crowds as big as Cranleigh Live and RocSoc is something that will be much harder to come by once I've left school. They created a performance evironment that challenged many musicians to work extremely hard, it certainly shouldn’t be taken for granted!

what advice do you have for younger musicians who have just joined or will be joining cranleigh?

Say yes to any and every opportunity to get involved in anything music related. It’s all going to be valuable experience and will really help you to develop as a musician. It will also help you create a network of people who you can work with and learn from from in the future. The more people you know the greater the possibility there is to make music.

WHAT ARE YOUR PLANS FOR NEXT YEAR? After spending some time travelling I want to carrying on studying to gain a degree in Music Performance and Songwriting. I have applied to LIPA (Liverpool Institute of Performing Arts), BIMM and Huddersfield University. I’m hoping that living in a big city like London or Liverpool will open up opportunities for me to play and produce music. I am currently designing and building a home studio to allow me to produce demos and produce with other musicians.

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''TAKE UP ANY AND EVERY OPPORTUNITY TO GET INVOLVED IN ANYTHING MUSIC RELATED AND wORK WITH OTHERS TO CREATE MUSIC AT CRANLEIGH.''

H arry Simmonds

"I FOUND" - AMBER RUN CRANLEIGH LIVE NOVEMEBER 2017

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DON'T WORRY BE HAPPY

The day after Cranleigh Live, Cubitt House's Twitter featured a clip of "Cranleigh Street Band's" performance of "Don't Worry Be Happy" with the quote "A good one to finish on, just for the exam year groups before the Easter hols". Finding any activity with a "feel good factor" when facing the stress of exams is good advice. Plenty of activities are proven to release hormones such as dopamine, serotonin and endorphins which help reduce stress and boost happy emotions.

Playing or listening to music is a great example of one of these activities. Cranleigh Street Band's finale certainly spread a little happiness amongst the audience.

The carefree whistling, major key and smile-inducing trombone solo all contributed to that feeling of happiness. I can vividly remember one rehearsal with the group prior to their debut performance where one student announced "I'm so happy right now!" A simple moment of honesty.

Cranleigh is well known for the quality of its congregational singing in Chapel. Visitors are frequently

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struck by the strength of so many boys and girls raising their voices as one. The result can leave students and staff feeling "lifted" and "buzzing to start the day". It is most likely that this shared act of music making has the effect of releasing the previously mentioned hormones into their bloodstreams.

NME reports that over 30 million people attended a UK festival or live music event in 2016 and those numbers are rising. Going to a festival or standing in a venue with a group of people who are there for the same reason supports our natural desire to build relationships and connections with others. In turn this rewards us with confirmation in who we are.

Music is the stimulus.

The majority of Cranleigh boarders attended Cranleigh Live to enjoy the shared experience and I encourage those students to make it a more regular occurrence by attending Lunchtime Concerts and Open Mic Nights. To the musicians; why not go busking or occasionally gather together in-house after prep. Lay down new traditions.

NOAH CHARLESWORTH LOVEDAY/LOWER FIFTH

WHY DOES MUSIC MAKE US HAPPY? Robert Zatorre & Valorie Salimpoor (McGill University) More than a decade ago, our US research team used brain imaging to show that music that people described as highly emotional engaged the reward system deep in their brains, activating sub-cortical nuclei known to be important in reward, motivation and emotion. Subsequently they found that listening to what might be called “peak emotional moments” in music, that moment when you feel a “chill” of pleasure to a musical passage, causes the release of the neurotransmitter dopamine, an essential signalling molecule in the brain.

When pleasurable music is heard, dopamine is released in the striatum, an ancient part of the brain found in other vertebrates as well, which is known to respond to naturally rewarding stimuli like food and sex and which is artificially targeted by drugs like cocaine and amphetamine. But what may be

most interesting here is when this neurotransmitter is released: not only when the music rises to a peak emotional moment, but also several seconds before, during what we might call the anticipation phase. The idea that reward is partly related to anticipation (or the prediction of a desired outcome) has a long history in neuroscience. Making good predictions about the outcome of one’s actions would seem to be essential in the context of survival, after all. And dopamine neurons, both in humans and other animals, play a role in recording which of our predictions turn out to be correct.

"Happy" music, that is, music which elicits positive emotions is also reported to facilitate improved creative thinking.

Research showed that groups exposed to excerpts of specific pieces music whilst they worked were able to produce more creative responses to tasks, compared to groups who worked in silence. The research concluded that educational establishments should consider how listening to music during 'creative' tasks may boost productivity.

ABI READER SOUTH/UPPER SIXTH

GEORGIA MURPHY SOUTH/LOWER SIXTH

" C R A N LE I G H S T R E E T B A N D " D O M F E LLO W S R A F E S C OT T MA X G R I S LE Y E LS A H A R D C A S T LE T E D WA LL I K E R H A R RY S I MM O N D S

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CHAMPIONS OF

CAMERON STATHER LOVEDAY/UPPER SIXTH

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The list of successful bands who met at school, college or university is solid inspiration for any group of young guitarists, drummers, bassists and singers who aspire to greatness. Pink Floyd, Daft Punk, Muse, Green Day, The Who, U2, The Rolling Stones, Radiohead...they all began making music together during the peak years of exploring and sharing new creative interests.

these groups, their formative years were their rite of passage into the mainstream music industry. It could also go without saying that a great many bands never make it beyond rehearsal rooms or the stages of local pubs but ask any adult who spent time in a band at school or college and they will probably look back on not-so-halycon days of enthusiastic music-making.

The acclaimed Daft Punk documentary "Unchained" features a short clip of young Thomas Bangalter and Guy-Manuel de Homem-Christo performing in their 90s Psych/Garage style band Darlin'. This wasn't long before the duo began experimenting with more electronic elements, eventually creating the unique Daft Punk sound which has become synonymous with the dance genre. Even their name came from a scathing review in Melody Maker magazine which described their music as "daft punky trash".

It could go without saying that for most of

Radiohead are a prime example of group who cut their teeth rehearsing on Fridays in the music rooms of Abingdon School (occasionally featuring a saxophone section!). It was a "collective" atmosphere with a focus on playing together, rather than specific instruments. I can't help but catch reflections of this same attitude in some existing and budding groups at Cranleigh - at least in the fact the Rock Room on Fridays (post-sport) will frequently be alive with cranked-up amps competing with equally powerful drums. James McCormack, Rafe

Scott, Ted Walliker, Cameron Stather and Theo Canham have been torchbearers in this respect. From James' jellyfish shirt and flamboyant stage antics to Rafe's earth-shaking bass and unmistakable vocal delivery, this group are the more than just a 'school rock band'. They are champions of punk and a force to counter the 'mainstream'.

They remind me of why I love live music and why I began teaching. There will always be a platform for this type of band and this type of music.

When the new Band Room is well and truly up and running, I hope that groups of students will be able to host their own band nights and solo shows. I hope too that we will see the return of many Cranleigh alumni.

THEO CANHAM/NORTH JAMES MCCORMACK/LOVEDAY RAFE SCOTT/EAST UPPER SIXTH

"THERE WAS NO SOUNDCHECK FOR THESE BOYS BUT THEY STRUCK THE STAGE WITH A DETERMINED PUNK ATTITUDE FROM START TO FINISH. GUITARS TO 11, THRASHED CYMBALS AND HIGH ENERGY VOCALS PROVED THAT PUNK ROCK IS ALIVE AT CRANLEIGH THANKS TO JAMES ET AL."

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"JESS GAVE US A SOPHISICATED AND STYLISH PERFORMANCE OF A CLASSIC ALICIA KEYS BALLAD. SHE WILL BE ONE TO WATCH AT THIS YEAR'S ROCSOC."

"IF I AIN'T GOT YOU" JESSICA EDWARDS RHODES/LOWER FIFTH CRANLEIGH LIVE VII

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ROCSOC JUNE 2017

CRANLEIGH SUPPORT Cranleigh is a supportive community. You can rely on Cranleighans, staff and parents to show unwavering support at all kinds of event. As I was walking towards the pitches at the 2018 Rosslyn Park Sevens Tournament, my branded hoodie attracted a comment from a passing member of public: "you've got a great crowd here today!" We really did. The same is true at Art exhibitions, House academic competitions, House plays, House matches. I believe that there is a deep respect for achievement at the core of this support. Students want to succeed and in turn want to support others endeavouring to do the same. The school’s environment and ethos sustains a healthy cycle of talent as students pass through its doors. The ongoing successes across so many disciplines in Cranleigh life are in part down to the continual nurturing of talent at every level, spurred on by witnessing the hard work and excellence of others. It’s on show everywhere you look - inspired students trying to be the best they can be in lessons, concerts, sports sessions and around their house. We are lucky to have excellent role models here. We are luckier still to have a community of people who have empathy for each other - even if they do not always share the same level of ability in the classroom, on stage or in sport. I have seen firsthand the staggeringly positive impact that students can have on one another in these environments.

/CRANLEIGH SUPPORT IS UNWAVERING. RESPECT FOR EACH OTHER'S ACHIEVEMENT IS AT ITS CORE 18

"IF YOUR PASSION OUTWEIGHS EVERY OBSTACLE YOU FACE, THERE'S DEFINITELY NO STOPPING YOU." - WHIPLASH, 2014

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10,000 HOURS An extract from a 2014 article by Ben Carter for the BBC:

"The 10,000-hours concept can be traced back to a 1993 paper written

by Anders Ericsson, a Professor at the University of Colorado, called 'The Role of Deliberate Practice in the Acquisition of Expert Performance'.

It highlighted the work of a group of psychologists in Berlin, who had studied the practice habits of violin students in childhood, adolescence and adulthood.

All had begun playing at roughly five years of age with similar practice times.

However, at age eight, practice times began to diverge. By age 20, the elite performers had averaged more than 10,000 hours of practice each, while the less able performers had only done 4,000 hours of practice.

The psychologists didn't see any naturally gifted performers emerge and this surprised them. If natural talent had played a role it wouldn't have been unreasonable to expect gifted

performers to emerge after, say, 5,000 hours, Anders Ericsson concluded that "many characteristics once believed to reflect innate talent are actually the result of intense practice extended for a minimum of 10 years".

Whether you believe in the 10,000 hours concept or not, consistent and quality practise in any discipline should not be underestimated. What sounds more appealing: an hour or two on a games console, watching YouTube or some music practise? It's a "balance" and choice that younger generations are often faced with.

There may be a perceived difference in instant gratification and reward but the processes are the same. Multiplayer games and level-based games offer the chance to replay the same situation multiple times, encouraging the player to master the content before progressing.

It's this same process that allows the top musicians to continually develop and master their instrument(s).

"ONE OF THE INGREDIENTS FOR SUCCESS IN MUSIC IS TIME ; TIME SPENT PRACTISING, PERFORMING, MAKING MISTAKES - GOING FURTHER THAN THE REST. ED SHEERAN PLAYED 300 SHOWS IN ONE YEAR BEFORE HE SIGNED HIS FIRST CONTRACT. THE BEATLES SUPPOSEDLY HAD 10,000 HOURS UNDER THEIR BELT BEFORE THEIR FIRST RECORDING THANKS TO THEIR EARLY DAYS IN HAMBURG AND THE CAVERN CLUB. WE SEE THAT SAME MENTALITY IN THE MOST DETERMINED AND MOTIVATED CRANLEIGH STUDENTS. USE YOUR PHONE'S CAMERA APP ON THE QR CODE TO TAKE YOU TO SOME BEATLES TRIVIA."

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STRINGS TO THEIR BOW We have rarely seen violins and cellos appearing in contemporary music performances at Cranleigh, yet they are abundant in many forms of popular music. George Martin's definitive string arrangement for 'Eleanor Rigby' puts them front and centre with vocals and is one of many orchestral arrangements that Martin contributed as the Beatles' collaborator and Producer. Strings can be heard on a host of recordings from old R&B, Philadelphia Soul and Disco to great effect. Charlie Andrews' ambition to collaborate with string players in her recent performance at Cranleigh Live

should encourage others to add "another string to their bow". Arranging and/ or performing/recording string parts for different styles of music is a hugely valuable skill for a musician. Look at the contemporary work of Stephen Hussey and The Urban Soul Orchestra! I also urge you consider the numerous popular music acts who have collaborated with orchestras in recent years. If you are a Spotify user, you can use your phone's camera to scan the QR code opposite to take you to a playlist of songs with great string arrangements.

LIFE ON MARS - DAVID BOWIE BITTER SWEET SYMPHONY - THE VERVE IN THE GHETTO - ELVIS & THE LPO GEORGIA ON MY MIND - RAY CHARLES KASHMIR - LED ZEPPELIN NOTHING ELSE MATTERS - METALLICA RIVER MAN - NICK DRAKE ONE DAY LIKE THIS - ELBOW YESTERDAY - THE BEATLES ...LIKE CLOCKWORK - QUEENS OF THE STONEAGE ACROSS THE UNIVERSE - RUFUS WAINWRIGHT 21

"DRIVE, MUSICALITY, INITIATIVE & COMMITMENT. CHARLIE IS AN EXCELLENT ROLE MODEL TO CRANLEIGH MUSICIANS WHO WANT TO TRY SOMETHING NEW."

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"EVERY MOMENT ON STAGE MAKES US A LITTLE WISER, A LITTLE BOLDER."

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LEARNING IN THE MOMENTS Every moment on stage makes us a little wiser and a little bolder. At school, all the elements can come together to create single or multiple defining moments which shape how musicians develop in a host of disciplines. Music is just one example. In every conversation, every morning Chapel, every lesson and every fixture we build on our knowledge of how to approach situations. There are opportunities to rehearse and perform regularly within the Music Department at Cranleigh. Practise without an audience can only get you so far which is why Lunchtime Concerts, Open Mic Nights, House Music Evenings and RocSocs exist to provide the platform for Cranleighans to learn in these moments. Performing on stage in a contemporary music environment can involve more than just you and your instrument. There is often a load of equipment needed to enable instruments to achieve particular tones and for each instrument to blend with others on stage, let alone sound good to an audience.

It is important to highlight this technical support as students are often exposed to the challenges of working with microphones, PAs, amps and pedals for the first time in the run up to a performance. Like riding a bike, reaching a stage where the use of any tech is like second nature takes time, practise and the opportunity to make mistakes in a safe environment, guided with timely advice. There will be a point where students need to go it on their own.

There are many Lower Fifth students who are doing just this. Noah Charlesworth, Ben Murphy, Henry Rigden and Will Wilkinson have an exciting future ahead of them as a group, and collaborating with others. They, like others, are performing regularly together in different ensembles as well as putting in the hours towards individual practise. Bands like these will learn a great deal from working together in rehearsal rooms and performing on stage. Friendships are strengthened and wisdom is gained.

"IT IS INEVITABLE THAT MUSICIANS WILL MAKE MISTAKES. THOSE MISTAKES CAN HAPPEN IN REHEARSALS AND DURING PERFORMANCES. STUDENTS NEED TO BE PREPARED TO MAKE THEM, TO IDENTIFY THEM AND EMBRACE THEM BEFORE LEARNING TO MINIMISE THEM. MASTERING TECHNIQUE WILL ALLOW STUDENTS TO CONNECT WITH AND CONVEY MUSIC THEY'RE PLAYING IN MORE EXPRESSIVE WAYS. "

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JESSE DUNBAR CAMERON READER NORTH/LOWER FIFTH

GEORGE PETTIFER/CUBITT NATALIE GILLOTT/WEST UPPER SIXTH

VOICES

Singing is a fundamental part of Cranleigh life. Whether it's the rousing hymn singing in weekly Chapel services, 'Cranleigh Voices' singing beautiful anthems at Evensong, the soloists and ensemble cast in the biannual musicals or the impromptu dorm singalongs that become next year's House Performance part song - few corners of the school have not resonated with the sound of Cranleighan singing voices at some point in time. Using a voice to sing is, in my opinion, the ultimate musical freedom.

My own speech impediment, which takes the form of a stammer, totally disappears when I sing. The sometimes debilitating stutters, stumbles, blocks, hesitations and word substitution in everyday speech become fluid, pre-formulated lines when for those moments my mind is focused on costal breathing, phrasing and articulation.

If you've ever seen the film 'The King's Speech', you might understand the

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phenomenon better than others. As a teenager I knew singing was something I wanted to be able to do everyday and teaching music has allowed me to share with others what I see as a more fluent and expressive version of myself, even if just for fleeting moments in performance.

It is unlikely I would have ever been able to deliver a class lesson, let alone address a hall full of students in assembly without the techniques and confidence that singing has given me. Voices can be powerful when used in passion, praise and protest. Solo voices can move people. Voices in unison or harmony bring people together. As with many things we are lucky in a school to be able to experiment and develop in a safe environment. Yet again we have seen this year how the opportunities to sing at Cranleigh have given students new-found confidence and means of expression.

ARIAS OR ARIANA? It might be a famous aria or a track by Ariana

HONOR REID

Grande, proper technique is key to a strong and healthy singing voice. Many great singers from the world of popular music have benefitted from operatic and classical singing coaching and many

SOUTH UPPER FIFTH

of the singers who take part in contemporary music performance at Cranleigh draw upon their expert vocal tuition. There is a somewhat symbiotic relationship that pushes students forward in both classical and contemporary styles .

R&B TO MUSICAL THEATRE Honor made her Cranleigh Live debut in March 2017 with a captivating performance of "When We Were Young" by

JOURNEY OF A VOICE

Adele. Under the guidance

As clichĂŠ as it sounds, young singers do

of singing teacher Birgit

go through a number of stages in their

Rohowzsky, Honor has built

development at Cranleigh. We see raw,

her reputation as a powerful,

untrained voices become more agile

confident vocalist. She has

and precise at the same time as seeing

since taken on the role of

their confidence and maturity grow each

Matron "Mama" Morton in

term. One of the opportunities available

Chicago and is always setting

to all musicians at Cranleigh is to record

her sights on expanding her

themselves. The studio environment

repertoire and range. The

can do great things for an individual's

ability of young singers in

progression and often sparks an interest

adapting to new music and

that has knock-on effects in other areas

new styles should never

of their musicianship such as songwriting

be underestimated. The

or simply the desire to capture that

school years allow musicians

perfect take.

to continually adapt and experiment before possibly honing in on more specific skills. It is important that they recognise the potential benefits of stepping out of MAX MARTIN EAST/LOWER FIFTH

their comfort zone as often as possible but to keep a deep-rooted passion for one

TOP LEFT - RUBY DICKSON/WEST/LOWER SIXTH TOP RIGHT - PHOEBE GOING/RHODES/UPPER FIFTH BOTTOM LEFT - CHARLIE PHILLIPS/LOVEDAY/UPPER FIFTH LEFT PAGE - SCARLETT STEHLIK/SOUTH/FORTH FORM

particular discipline or style bubbling away throughout their school years.

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The piano department of Cranleigh Music is seeing very healthy numbers of students learning the instrument. Traditionally, alongside singing, it is one of the more popular instruments to take up during the school years. It is an extremely versatile instrument, particularly if studied in addition to other orchestral of rhythm section instruments.

The piano is the go-to instrument for composers, songwriters and producers who need some form of accompaniment to start or glue together a fresh composition.

We have a good number of singer/songwriters at Cranleigh who accompany themselves on piano and the number is growing.

However, there is also a space quickly being filled by those pianists who do not necessarily sing or play other instruments.

Notable debuts in the contemporary music scene have come from Zoe Brune [top right] (accompanying Charlie WilsonHarris), Kiko Liu [bottom right] (accompanying Ruby Dickson), and Bashy Slater (accompanying Scarlett Stehlik).

These collaborations have not only given the pianists a new experience on stage but have also given fantastic support to the singers. Accompanying a solo vocal with piano alone leaves no where to hide and requires sensitivity and the ability to adapt if necessary. This is certainly true of Ted Walliker's sterling commitment to music-making with others at Cranleigh and has been one of the hallmarks of his career, along with his comedic energy and confidence on stage.

TED WALLIKER EAST/UPPER SIXTH

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ZOE BRUNE SOUTH/LOWER SIXTH

"STUDENTS ACCOMPANYING STUDENTS IS A PURE FORM OF COLLABORATION. THE OUTCOME MAY BE SIMPLE BUT THE JOURNEY TOWARDS A CONVINCING PERFORMANCE REQUIRES A GREAT DEAL OF SKILL AND COMMUNICATION."

BASHY SLATER NORTH/FOURTH FORM

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REUBEN GRAY HEADLINE SHOW THE BOILER ROOM

TIRELESS DEDICATION Reuben is a man on a mission. Self-made and lovingly supported by family, friends and fans, Reuben is about to embark on yet another exciting chapter of his career as a young songwriter. The last 12 months of any 16-year-old's life might seem like a roller-coaster but look back at his success on BGT at the same time as taking GCSEs, continually writing, recording and touring and you might not think Reuben is living the same 24 hour days as the rest of us.

I could easily write about the musical accomplishments of this young man but it is of far greater value to those who might read this to tell of his tireless dedication to his own progression as a musician. From playing countless local and London-based venues and festivals to buying his first set of in-ear monitors and setting his sights on a record deal you cannot doubt his ambition to make good on his goal of being a professional musician.

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In a very short space of time Reuben has returned to the venue he once played as a solo singer-songwriter now with a band behind him, a catalogue of his own music and playing to a sold out audience.

However, Reuben is now looking to put that material behind him into the "halcyon days archives" and push on to discover a new sound that might just break him into the charts. Whatever the future holds for Reuben, there is something that he demonstrates that almost guarantees his success: hard work and humility. As a teacher these are attributes that you hope to encourage in every student because time and time again they can be seen in the character of successful entrepreneurs, athletes, servicemen and women, and particularly musicians.

"LIFELINE" REUBEN GRAY THE BOILER ROOM

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“IT’S WHERE EVERY GREAT MUSICIAN AND EVERY GREAT BAND STARTS. AMY WINEHOUSE SANG JAZZ, JIMMY PAGE PLAYED SKIFFLE, DR DRE MIXED MOTOWN, ELVIS SANG GOSPEL. INFLUENCE AND INSPIRATION COME FROM THE MATERIAL YOU ENCOUNTER AT A YOUNG AGE. WHAT COMES AROUND, GOES AROUND.”

REPERTOIRE REIGNS

S ST

Browse the record collections of some of the all-time great musicians and you might be surprised with what you find. The same could be said if you flicked through the personalised mixtapes or playlists of your family, friends and colleagues. Songs can have a profound effect on our day-to-day lives and whether we realise it or not, they can act as metaphorical ‘meta-tags’ to recall memories, emotions and actions. What was the last song you danced to? What song do you turn off if it comes on the radio? What song makes you remember a moment in time?

What song do you know every lyric to? These questions always reveal fascinating answers no matter who you ask. We often all share some staple material that transcends generations and taste.

One of the greatest and most enjoyable challenges at the start of every term is curating possible repertoire for each student.

With so much material to choose from in the world of popular music it can be a daunting task but one that must engage and educate inexperienced and experienced ears alike. Is it as simple as scrolling through the top 40? Sometimes.

Spotify has been a gamechanger. Collaborative playlists, ‘recommended’ songs and the ‘discovery’ algorithms are powerful tools. Let’s not forget YouTube. The best experiences in new music I’ve had this year have been suggestions from students themselves. Sometimes we will find a song that has us literally jumping with excitement at the prospect of performing it. They can also surprise you by learning something you would never have thought of then turning up to a session and playing it perfectly. You never know what’s going to strike that connection; lyrics, chords, groove, the hook - whatever it is, it has to inspire and motivate them to devote time to practice. I have been delighted by the maturity and independent approach so many of students have adopted in preparing performances ahead of various concerts this year.

SPOTIFY AND OTHER STREAMING SERVICES HAVE BEEN A GAMECHANGER IN MUSIC EDUCATION

"COVERS OF COVERS" Covers and re-arrangements echo throughout the history of popular music. Have you heard the original version of ‘Hound Dog’ by Willie Mae “Big Mamma” Thornton, or the sublime interpretation of ‘Ticket To Ride’ by The Carpenters? I urge you to seek them out and compare them to the famous versions we are familiar with.

In this Cranleigh Live lineup we were gifted with a generous helping of “covers of covers”.

The challenge laid at the feet of the performers is to try and put their own stamp on the material whilst staying true to the original. By no means an easy feat but these acts did so with confidence and serve as a reminder to younger musicians rising up the ranks: you can busk a song a thousand times and learn very little unless you’re prepared to experiment with structure, harmony and melody.

Covers and rearrangements echo throughout the history of music

Sampling, whether it’s the art of cutting up and re-working a small section of an existing song. It’s the good/bad part of decision making. Music Technology students find that ‘sampling’ can be a staple of their creative process and theoretical understanding and I mention it here because of it’s relevance to tuning our ears to new sounds. Listen to “I Got The...” by Labi Siffre (recorded in 1974). Play from 2:31 and spot the influence on a breakthrough track by Eminem on the Slim Shady EP (produced by Dr Dre).

Lines becomes blurred in what can be defined as "inspiration" if you listen to “Got To Give It Up” by Marvin Gaye. Robin Thicke & Pharell Williams paid $7.3 million to the family of Marvin Gaye because of the similarity to "Blurred Lines". Food for thought on what passes for inspiration or plagarism in the music industry.

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PRACTIce tips 3. PRACTISE SLOWLY

New pieces should never be practised at performance speed. You should practise the entire part of the music you are studying at the fastest tempo you can play the most difficult passage – then a bit slower. Tempo should be increased gradually and only after you have practised the entire piece. This will ensure that the tempo does not fluctuate wildly after you feel the piece has been learned.

4. SET ASIDE TIME 1. WARM UP

To begin practising correctly, it's important to warm up. Technical studies will get fingers and joints limber.

Considering the keys of the pieces you are studying will lead you to the correct scales to practice during your warm up period.

How long do you warm up? As long as you need.

2. WRITE ON YOUR MUSIC

Always have a pencil handy or keep copies of your music in the Notability app on your iPad. Writing on your music is not a bad thing. It is actually a very professional action. Mark habitual mistakes, fingerings, and dynamic markings to make sure learning is not slowed by careless mistakes. Mark habitual mistakes. If you miss something one time, make a mental note. If you miss it a couple more times and it becomes a habit you must mark the mistake to help you become aware of the problem.

Any practising is worthwhile, but time that is reserved for practise is best because interruptions are fewer. Try to practise when events are not happening immediately after or before practice; this way your mind is completely focused on your practice. Not easy but not impossible

working outwards from problem areas will ensure continuity in your playing when you piece everything together.

10. PRACTISE IN SECTIONS

Always practise your music line by line or phrase by phrase. The brain enjoys small bites of knowledge. It is easier to process and produce when there is less knowledge being processed at a slower rate of speed. This way you will not forget what went wrong and where it happened.

11. EVERYTHING

I encourage students to not only practise notes and rhythms but all parts of the music as they begin. Dynamics, articulation, phrasing: all this should be included from step one when you practise.

5. QUIET

Practising in a quiet space may be difficult, but finding that sanctuary for practise time will improve productivity within that time. Once more, this will help you focus on practising.

6. CALM

Practising should be done when you are in a calm state. Rushing to practise is not the best procedure. If you are exhausted or busy when you begin practising you will not get the most out of it.

7. IDENTIFY PROBLEMS

Many younger students will simply play a passage over and over without stopping to analyse the music for problems. The mistakes will remain and in the worst cases become ingrained. Being able to identify problems and implement solutions in an organised fashion is vital.

8. RHYTHMIC PROBLEMS

Rhythmic problems should be corrected outside of the line of music. This way the notes are not involved, and the rhythmic issues can be dealt with for what they are: rhythm. After the rhythmic problems are solved the notes will be easier to apply.

9. IN & OUT OF PROBLEMS

It is wise to work out problems in small areas. Once a problem is solved you should practise into the problem from a few bars before, then from the problem area forward a few bars, then from before to after the problem area. This method of

12. PRACTISE DAILY

Building good habits require daily attention. The mind likes routine and will take advantage of a daily practice time. The more time you leave between practice sessions the more information will be lost. Keep your study fresh and continually moving forward.

"IF AT FIRST YOU DON'T SUCCEED TRY, TRY, TRY AGAIN".

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ALUMNI Alex Tracey is a new name on the block.

After taking some time out to work on his music and sound. He now returns with his latest single ‘Crazy’.

His debut single ‘Same Old Animals’ attracted the likes of BBC Introducing and Close-Up Promotions. This new track has been described as “funk meeting indiepop”. Tracey is for fans of The 1975 and Fickle Friends; with a sound like The 1975 mixed with Oscar and Will Joseph Cook.

‘Crazy’ has an electronic beat and has a highly addictive yet playful aura. Alex has brought catchy lyrics and a head-bobbing beat which oozes with a summery indiepop feel. Alex Tracey will now be touring his single with shows in Manchester (23rd January) and Leeds (26th January). These will definitely be ones you do not want to miss.

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Speaking about the track, Tracey said: “‘Crazy’ is definitely the most ME record I’ve released so far. It really is just a showcase of what I’m all about as a musician, and what it is about music that I love.

“At heart, it’s really an exploration of risk and freedom, conveyed through the context of a failing relationship. Why stick around with what you’ve got when there’s so much more out there?"

ANGUS WHITE INDIECENTRALMUSIC.COM

Alex has just ended his 'Dream of Something Crazy' tour and we are looking forward to welcoming him back to Cranleigh this summer to deliver a performance and music industry workshop session for musicians attending the Contemporary Music Academy.

ALEX CONTINUES TO STORM AHEAD IN HIS PROGRESSION AS AN ARTIST - NEXUS MUSIC

ALEX TRACEY EAST/OC

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SPEECH HALL 37

What we anticipate seldom occurs, what we least expected generally happens Chris Evans

A LITTLE TRIBUTE TO A VENUE...

The summer of 2017 saw the Speech Hall undergo a well-earned facelift to its interior. It is looking forward to further developments to its infrastructure and functionality as a multi-purpose venue.

This hallowed hall is well and truly at the heart of the Cranleighan experience.

With countless assemblies, musicals, House Performances, plays, concerts and exams held within its walls it has seen so many formative moments in the lives of the students that have passed through its doors. As soon as the final exam finishes the space will rapidly transform from rows of desks to rock show venue as a re-booted RocSoc is rigged.

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WE WORK WITH SFL BECAUSE THEY DELIVER EXCELLENCE EVERY TIME.

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To produce RocSoc, The Awesome Book Awards and Cranleigh Live among other events the Cranleigh staff team of George Royall, Hamish Ellis and Emma Wallis are supported by SFL Group UK. The value of working with an external production company brings advantages on many levels.

Firstly they provide a range of experience we simply could never have in-house. The sound engineers they provide do that job day in, day out so our audiences get the best possible experience hearing our musicians. They also provide a level of expertise that means our student technicians can learn from people who work in the industry. Lastly they provide the latest and best kit for our events with the bonus that we don’t have to spend time or money maintaining it.

Our long standing relationship with SFL means that they are part of the Cranleigh music scene - they know the shows we put on and what we need to get out of them. It’s an excellent relationship, especially for our students. Long may it continue!

ROCSOC PRE-SHOW JUNE 2017

HAMISH ELLIS THEATRE MANAGER

GEORGE VEYS SOUND ENGINEER

OUR STUDENTS ARE INCREDIBLY FORTUNATE TO HAVE THE SUPPORT OF SUCH A TALENTED & experienced YOUNG SOUND ENGINEER.

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CR AN LEIGH MUSIC PR ESEN TS

ROC� SOC WITH MUSIC by

Stevie wonder IMAGINE DRAGONS

KAISER CHIEFS PRIMAL SCREAM

review

SPEECH HALL DooRs 7pm

Aretha Franklin

Scouting for Girls

Live

[FrEE]tICkEtS rEQUIred WWW.CRANLEIGH.ORG/TICKETS standing + limited seating

27+28

WEDNESDAY: EAST/SOUTH/CUBITT THURSDAY: WEST/RHODES/LOVEDAY/NORTH WRISTBANDS AVAILABLE IN HOUSE 18TH JUNE

june