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FESTIVAL REVIEW: Sons of Pitches perfect

Sons of Pitches ANL-160527-112351001
Sons of Pitches ANL-160527-112351001

This morning, after their sell-out Bury Festival concert, a cappella stars Sons of Pitches told their Facebook fans that they’d had “an absolute blast in Bury St Edmunds” last night.

So did we. It’s only seven months since Sons of Pitches won Gareth Malone’s BBC2 Naked series – and six since they left their jobs to turn professional – but this six-piece band has advanced light years in confidence and performance skills.

From the start, they engaged with the crowd, sweeping us up in their awesome harmonies and taking us from re-worked pop classics to dubstep, via just about every musical genre you could think of.

On one level, it was entertainment; on another, it was a masterclass in using the human voice as an instrument.

Each half of the show included an improvisation based on suggestions from the audience. A blues number based on King Edmund on a roundabout? Unlikely, but brilliant. A calypso on the last line of a random text message? Ditto.

Going by applause ratings, their reinvention of Blondie’s Heart of Glass stole the show: check it out via YouTube via Postmodern Jukebox .

But for sheer class, the vote had to go to their spine-chilling version of Kate Bush’s Wuthering Heights.

Let’s not forget the woman with the hardest task, classically trained singer/songwriter Nina Schofield. Opening such a show must be as big a challenge as headlining it and although the sound levels didn’t always work for seats in the top rear of the Apex, her performance certainly did.

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