As you would expect from Daylight Music, it returned with another interesting line-up that if I’m honest, even during sound check, I wasn’t sure would work. Featuring the classical music from 97 Ensemble, experimental electronic music (and bubbles) from Greater Than the Summation, and reflective songwriting from Kay Elizabeth, the eclectic lineup showcased Daylight’s ability to mix genres without it ever feeling forced. What do I know? The lineup worked perfectly. It is so good to have the series back so that it can continue to surprise and challenge me.

As is often the case with Daylight. This was an eclectic lineup.

The School of Noise held a workshop before the concert that encouraged kids to create music using different bits of junk. It was great seeing the kids enjoy performing the piece in front of the audience and their parents joined in with a piece that involved spoken word.

Yukiko Matsukura brought a taste of Japan with some traditional Japanese songs played on a guitar

Closing the afternoon was Rosie Turton who combined trombone with modular synth.

Today’s event featured three completely different artists and their take on the piano. Maya-Leigh Rosenwasser with a traditional classical take on the piano. Taking the piano to a different place, Tori Freestone and Alcyona Mick Duo gave us a jazz infused set. Finally, Jenny Moore (and friends) brought us songs written on the piano during the pandemic. All showed the versatility of this wondrous machine in the hands of talented artists.

White I love photographing Piano Days for Daylight, I also love watching closely how each pianist tackles the piano. As I wasn’t on duty today. I plonked myself at the front where I could be mesmerised by the dance of the hands on the keyboard. Hands feature a lot in these photos.

Today was Piano Day at Daylight Music. Some of the strongest Daylight sessions have been their Piano Day events. They have introduced me to many great pianists and composers. One of those artists is Xenia Pestova-Bennett who has played several Daylight Music Piano Days. Xenia is not only a very talented pianist, but an artist who composes pieces that push the envelope of the piano. Returning with a Piano Day involving Xenia was always going to set a high bar for the rest of the season.

I was photographing today’s session and arrived early for soundchecks. On arrival the church looked beautiful with the star of the day, the piano, standing proudly as the early spring sun streamed into the church.

Starting the season was Jo Johnson and Hilary Robinson with a piece they had never performed together before. Written during lockdown and marrying electronic music and field recordings with beautiful minimalist piano music. The piece was really beautiful.

Next up was another returnee to Daylight Music, Sarah Angliss. This time bringing along two singers, Melanie Pappenheim and Sarah Gabriel. Sarah always does something different when she plays Daylight. Whether it is using a robotic ventriloquist dummy, or bringing unusual instruments. Today she used early keyboard instruments and combined them with haunting and beautiful vocals of Melenie and Sarah who explored texts from the moon landings and old English poetry. It was a stunning performance.

Closing the session was Xenia and Austrian composer Karlheinz Essl with their take on a core piece of the piano repertoire, Bach’s Goldberg Variations. Gold.Berg.Werk uses the framework of Bach’s seminal piece and interweaves Essl’s own take on variations, using recordings of other instruments and electronica which Karzheinz sends to different speakers around the church.

I have to admit. I have never got on with the Goldberg Variations. I find it a bit wearing and plodding and have never felt the need to see it performed live. But Essl’s electronics wizardry transformed the piece for me. He helped create space between each of Xenia’s exquisite variation as he filled the church with the sounds of ghostly strings and electronica. It was almost as if the Church was alive and answering the piano. At times flirting with the piano, with quick stabs of violins that sounded like bells ringing at a wedding. Other times, almost reacting with sadness, as if Xenia’s piano brought back a trauma. It was a thoroughly fascinating take on such a well known piece.

Not a bad way to spend a Saturday afternoon. What a great way to welcome back the new season. A high bar has been set.

First up, Hackoustic’s Tom Fox came together with saxophonist Samuel Sharp. Tom’s homemade instruments blending with Samuel’s sax

Next up, a first for Daylight, a mini opera. Alya Al-Sultani telling the story of her grandmother. The performance featured audience interaction with a ‘paper orchestra’. Unfortunately Gawain Hewitt who was meant to be accompanying Alya was ill. But he was there in spirit through an app the audience interacted with. A fascinating first.

Closing this Daylight was another ad hoc collaboration between Lula.xyz and Aby Vulliamy who literally came together for the first time for the performance that mixed musical gloves and viola.

I believe today’s session was effectively the cancelled Piano Day from 2020. The previous Piano days have been some of my favourite Daylight sessions, featuring some amazing artists and composers. Today’s session featuring Kerry Yong, Yshani Perinpanayagam and Elliot Galvin, wasn’t as strong as previous sessions. But still proved interesting (and some of the previous Piano days have set a very high bar).

The session opened with Kerry playing harpsichord and piano in the first of his two sets. Playing a new piece (I failed to get the name of) and extracts from Messiaen’s Catalogue d’oiseaux (Catalogue of Birds).

The harpsichord is an interesting instrument. It has a distinctive sound that always conjure images of 1700s, with elegantly dressed balls. The sound to me always lacks dynamics but has a precise, almost formal feeling. It’s always interesting to hear in small doses. Thankfully, Kerry used it sparingly so it didn’t outstay its welcome, playing the piano for most of his two sets. (Although St John’s piano, didn’t have the richest sound).

Next up was Yshani. Unusually for a Daylight piano day, Yshani, like Kerry, didn’t play any of her own music, instead played Metamorphosis by Philip Glass. Like much of Glass’ work, this is a beautiful and accessible piece. You literally could hear a pin drop as the audience listening attentively (and my camera in silent mode).

Kerry then returned to with more Messiaen. Too much Messiaen for my liking. I like some of Messiaen’s work. But I have to be in the right mood for it.

I’ve said this many times, I like how Daylight challenges my musical boundaries. The final performer, Elliot Galvin was one of those acts. Elliot Galvin is a jazz pianist and played an improvised piece. As with all improvised music, it overstayed its welcome, but was interesting at times. At times registering with me, other times losing me as Elliot headed in a different direction to how I thought it should go. Watching the crowd, it was a mixed bag. Half were completely lost in the music. But there were others like me, struggling to concentrate on the random musical changes, but still fascinated by Elliot’s dynamic performance.

It is expensive putting on sessions like these. Daylight now needs to generate revenue to keep it going. While cafe and merch will help, it is going to need people who are willing to return regularly to hear it’s curiosities. On the one hand, programming accessible music like Glass would put bums on seats, and £10 for Glass is really cheap. Programming more challenging works by Messiaen and having ‘Cafe Otto’ improvised Jazz may keep the audiences size down and make the sessions unsustainable without external support. However, if it was forced to change, would it still be Daylight Music? I like Daylight because it offers distinctive programming. I don’t want to like everything. I want to be challenged. I guess we’ll have to wait and see if this programming was too challenging and see if the audience returns for the next Leytonstone visit.

This was the second St John used by Daylight. It was interesting to compare the two venues. St John’s in Bethnal Green had better dynamics. But St John’s in Leytonstone felt like it could be moulded to Daylight’s needs. It felt more open and airy and it also had better accessibility. It also brought in a new audience. Lots of new faces from the Leytonstone area. It felt like there would be an opportunity to grow the audience. While catching a walk-in audience might be a struggle as the Leytonstone area felt a bit ‘suborby’. However, the bustle of Bethnal Green felt even less likely to be a place you’d get walk-ins. It will be interesting to see how Grand Junction fairs in a few weeks time.

It is really great having Daylight back. I had my most normal Saturday since March 2020. A decent walk. I took some photos. Listened to some music and then had a post-Daylight ‘just one pint’ drinking session. I really hope they find a way to continue beyond this season and they do so without compromising programming. With its return it continues to challenge my music sensibilities, bringing me new music I would otherwise never listen to.