Welcome to all new readers. |
For Part One (introduction to Libera and to the Timeline, extensive overview, & coverage for 1981-2007), please go to: http://liberatimeline.blogspot.com/
For The Tables of Contents for all Parts & Appendix A (there is also a Table of Contents at the beginning of each part): https://liberatimelinetocappenda.blogspot.com/
Hibaya Festival, Japan, 2024
For Part Two (2008-2009): http://liberatimeline2.blogspot.com/
For Part Three (2010): http://liberatimeline3.blogspot.com/
For Part Four (2011): http://liberatimeline4.blogspot.com/
For Part Five (2012): http://liberatimeline5.blogspot.com/
For Part Six (January-May 2013): http://libera-timeline-6.blogspot.com/
For Part 6A (May-December 2013): http://libera-historicaltimeline6a.blogspot.com/
For Part Seven (January-July 2014): http://libera-historicaltimelinepart7.blogspot.com/
For Part 7A (August-November 2014): http://libera-historical-timelinepart7a.blogspot.com/
For Part 7B (December 2014): http://libera-historical-timeline-part7b.blogspot.com/
For Part 8 (January-March 2015): https://lib-erahistorical-timeline-part-eight.blogspot.com/
For Part 8A (January-March, 2015): http://liberahistorical-timeline-part-8-a.blogspot.com/
For Part 8B (August-December, 2015): http://liberahistoricaltimelinepart8b.blogspot.com/
For Part 9 (January-July, 2016): http://liberahistoricaltimeline-part-9.blogspot.com/
For Part 10 (January 1st, 2017-August 11th, 2017): https://li-berahistoricalt-imelinepart1a.blogspot.com/
For Part 10A (August 12th to December 31st, 2017): https://lib-era-historic-altimelinepart10a.blogspot.com/
For Part 11 (January 1st– October 20th: https://lib-er-ahistorical-timelinepart11.blogspot.com/
For Part11A ( October 21st to December 31st, 2018): https://li-berahistoricaltime-line11a.blogspot.com/
For Part 12 (January 1st to August 17th, 2019): https://liberahistoricaltimelinepart12.blogspot.com/
For Part 13 (January 1st to December 31st, 2020): https://liberatimelinepart13.blogspot.com/
For Part 14 (January 1st – July 5th, 2021: https://liberahisttimelinepart14.blogspot.com/2021
For Part 14a (July 5th - December 31st, 2021: https://histtimeline14alibera.blogspot.com
For Part 15 (January 1st - February 20th, 2022): https://15libhisttimeline.blogspot.com
For Part 15A ( February 20th - Present, 2022): https://libhisttimelinepart15a.blogspot.com
For Part 16 (January 1st – December 31st, 2023): https://libhisttimeline16.blogspot.com
For Part 17 (January 1st – Present, 2024) https://libhisttimeline17.blogspot.com
This is still the case, up to sometime in 2023 when the site administrator apparently had a sudden switch in priorities. The slack in keeping track of new members was taken up in 2024 by Padmachou, a contributor to the lively and knowledgable Libera Dreams Discussion Forum at: https://libera-dreams.co.uk/viewtopic.php?t=4107
TABLE OF CONTENTS
#三菱未来館 #MitsubishiPavilion #JourneytoLife #大阪・関西万博 #EXPO2025
#リベラ #LIBERA
#村松崇継 #takatsugumuramatsu #composer #filmscore
Latest Concert and Tour Plans
We are pleased to be able to announce some of our upcoming concert and tour plans.
October 2025
We will be visiting the Philippines, followed by Indonesia, from 26th October to 2nd November. Venues and tickets will be announced in due course.
November 2025
We will perform concerts at Smith Square Hall on 29th and 30th November. Ticket link
December 2025
We have been invited to give two concerts at the Mosta Rotunda, a huge and beautiful church in Mosta, Malta, on 20th and 21st December. Ticket arrangements will be announced in due course, but in the meantime please do not contact Mosta Rotunda directly.
March/April 2026
We will be touring In Japan. We have 5 concerts planned
Ramblings from an Emerald Isle
By Yorkie
I have been to Ireland a few times (including for previous Libera concerts but only to Dublin in the South. Cobh (pronounced Cove) is a lovely little coastal town and, unfortunately, with a damn great hill with the Cathedral halfway up - walking up it once was enough for me! It is also a cruise ship port destination (and was the last port that the Titanic stopped at before its fateful crossing of the Atlantic).
On Friday morning a few of us were sat outside a pub (purely for medicinal purposes) opposite the town’s Titanic Experience when we saw the familiar blue shirts joining the queue to go in. A group of people at the next table noticed them and opined that it must be a school trip. I took the opportunity to explain who they were and they said they had seen the posters at the cathedral and were interested in attending the concert because the earlier than usual start of 7pm would allow them to get back to join their ship before it set sail at 11pm.
I understand that Libera and some parents also contacted the ship to let them know of the concert and it was mentioned in the morning briefing onboard plus the ship’s Facebook group. There was a good sized audience on the day so hopefully they got some new followers. Andy Winter was certainly selling a good few CD’s at the interval.
The rehearsal was open and they ran through the full set list whilst working out stage positions. This gave us the chance to hear the programme changes from Southwark and I have to say it was a nice set list with a few nods to Ireland, more of which later.
Following the rehearsal it was time to reintroduce the custom of queuing for the non-allocated seats. It wasn’t like the old days where we queued for 10 hours and then there was a charge for the front but it was a bit more stressful than having an allocated seat; the pews in Cobh were incredibly uncomfortable (if anybody cares about the suffering we had to endure to bring you these reviews)!
No Josh Madine on the piano/keyboards but his place was taken by Nathaniel Brawn, who has been involved with the group for ages and is credited as Assistant Musical Director.
In Cobh they used the cathedral’s natural raised platform as their stage. With the wires and cables for lighting and sound, this limited their access on-and-offstage to the front stage right.
In Kilkenny, they brought in a stage which was, well, a bit noisy when they moved around. The other difference was that in Cobh the musicians were between the audience and the stage and in Kilkenny they were to the sides and so we were further from the singers there. You might think that this makes little difference but in fact it does change the overall sound balance if you are sitting up front.
I Am the Day was the first song and also showed the sound difference between the two venues. In Cobh, from where I was sitting Morgan Wiltshire’s singing was very soft, almost a whisper (and I know there is a delicacy to the song with actual whispering, but it was too soft).
In Kilkenny, by contrast, Morgan’s voice was much more dynamic and I don’t think it was anything he changed—it was just the sound staging. I like this song and it is a nice start to the concert. We also had the return of the smoke machine, so from where I was sitting, on the left side, it was quite effective, to the point that after the song somebody commented that it looked like the boys were on fire (and in fact they were, it was a great show).
We then ventured into Sanctus where they formed their wide arc and Joseph Hill and Ben Hill sang the high descants.
Archie Robson and Samuel Whaley delivered the opening speech welcoming us to the concert, telling us about Libera and that the boys come from exotic places like Brixton and Tooting, and reminding us that it was their first visit to Ireland since 2013.
They introduced William Dunbar and Oscar Dixon-Wayne as Eight-year-olds on their first tour, and that the oldest boys were Freddie, Mitchel and Ethan who are 15.
Julian Heitman then started One Small Voice for us and he has continued to develop from his first solo on this song last year to give a confident and poised performance. Joseph Hill, Ben Hill and Morgan Wiltshire contributed the supporting parts to the song.
The Seabird staging was a little cramped at Kilkenny due to the small stage, and so Joseph Hill was right at the front of the stage with the boys grouped in a block behind him facing left or right, opening out as the song progressed. Perfectly sung as you would expect from Joseph; his voice is blossoming as he matures.
Orinoco Flow was put back on the set list because of Ireland being the home of Enya (so Cory Agyei told us in his speech that followed) and it also matched up well with Cobh and the cruise-ship crowd. Edward Sargeant joined Corey in the speech and they introduced the four groups of brothers currently on stage (Joseph and Ben Hill, Pietro and Federico Vergani, Nathan and Caleb Slater and Corey and Caius Agyei (who high-fived each other). Oh, and Moose who is their Executive Producer. Edward seems to be the conduit for the vast musical expertise that Moose has gathered over the many years of his official Libera duties.
Thomas Mushrafi sang the solo on Stabat Mater watched from the audience by brother Freddie. Thomas sang his parts very movingly and with a calmness and assurance that we will miss when he inevitably moves to the back row.
Deep Peace (also known as Gaelic Blessing) was another nod to Ireland with Julian Heitman and Lewis Pearson delivering great vocals.
Next we had The Prayer sung by Joseph Hill. Everything about his singing is excellent and at both shows it was a brilliant and moving vocal but if I may say something...Joseph is growing up fast. His voice is developing a nice texture and The Prayer is a song for a younger voice. I think Joseph deserves more challenging songs, like Dido's Lament, to take full advantage of his voice and technical ability. Don’t take this as any criticism of his performance. It was perfect and moving, but this is a younger boy’s song in my eyes.
Now one of my favourite songs of the night - Do Not Stand. What a powerful and emotional experience this was. I can’t have been the only one to wipe tears away at the end of the song (well in Cobh; in Kilkenny I was sat directly behind [conductor] Liam Connery so I had to force myself not to cry because I didn’t want everybody on stage to look at the conductor and see me sat behind him blubbering).
What a powerful, powerful performance we got by Jerome Collins and his harmonizing partner Ben Hill. Jerome doesn’t just sing; he seems to channel the song through his body like he is completely consumed by the moment. He looks up to the heavens as he sings but his expression is of pure peace and contentment.
And, I can’t not mention Ben’s fantastic ability to slip into a perfect harmony with Jerome; it’s far from easy to get the blend just right. Every time Ben sings he does so with a smile and it is amazing how he can look so happy and still hit those blazing high notes perfectly. What a duo, what a performance, what a song, what a piece of luck to witness it twice in quick succession.
Before the next song Caleb Slater and Federico Vergani gave a speech to mention that Nathan replaced Nathanial at the keyboards for Do Not Stand and to introduce Eimer McGeown (whistle) and Ruairi Glasheen (on the bodhran) who both came on stage.
Eimer got the chance to say a few words about her journey with Libera and that Sam Coates had arranged the next piece, Kid on the Mountain, which was an old Irish slip jig, with a part created for the choir. I have to say it was really beautiful to hear Eimer on the whistle and Ruairi along with the Libera backing vocal.
The final song of the half was the triumphant return of Exultate. This was a song that also fitted well with the Bodhran and flute. Solo very nicely done by Edward Sargeant who showed that he is not just a witty speech giver/Moose interpreter but also has a great voice.
Intermission
The second half started slightly differently in each of the two concerts. In Cobh Eimer McGeown took to the stage alone, with a slight haze from the smoke and (I think) green lighting. She started to play her flute on She Moved Through the Fair and then after a short while of her alone on stage, Ben Hill walked slowly to stand beside her.
A little later the rest of the boys joined them one by one on stage behind those two. Ben’s part was to add a hauntingly beautiful descant to the flute. Stunning. Ben really excels in those high notes. In Kilkenny they all came on stage together, probably because the space was smaller and the stage very creaky so lots of boys walking on it separately would have been distracting. Incidentally, the two very Irish pieces with Eimer are on her album ‘Inis’ (sadly not with the Libera parts as far as I know). I really enjoyed these two pieces with Eimer, who is a very gifted musician.
In Paradisum was sung by Pietro Vergani starting alone and then joined by Theo Wilson. Pietro really fired this up and his voice suited it. He had no problem with those high parts, and this was one of the pieces recalled afterwards by many different fans as something special.
The first speech of the second half was Leon Clarke and Oscar James talking about the robes design being similar to monks' habits and not much like the usual clothing of boys living in south London. They then did the seven-part Libera harmony demonstration, which is always well received by the audience.
Then came If, and Jerome Collins came to the front. Now, I’m a huge Daniel White fan and this was one of Dan’s solos and it is his version they recorded which sort of makes it definitive but…Jerome’s younger voice and complete commitment to the performance, well, I think his version is my favourite. It has a tenderness and intimacy which just captures you as you listen and pulls you in.
I think this is a classic example of where different voice maturity can really change how you hear and connect to a song. Joint favourite performance of the concerts for me. Salva Me, gorgeously lit in red, had Ben Hill singing the high “Salva!” parts, and the rising and falling arm movements, ending with bowed heads.
At this point I’ll mention that a fellow fan, Dani, who normally sits towards the front, decided to sit further back in Cobh near the soundboard for the second concert, so that she could appreciate the concert from a different perspective.
She confirmed what has long been stated that the sound actually blends better further back, and you get a balance between voices and music and the full lighting effect. True, you don’t see the individual faces and the little details as well, but it does give a nice experience. So, save your money and buy seats at the back in future (and let me sit at the front alone!).
San Damiano gets some mixed love but I quite like this new offering. It is nice and energetic and gets the foot tapping. The “languages” speech was given by Gabriele Marini and Lewis Pearson, introducing different boys who said a few words about where their families were from in different languages. Now, I’m not saying that Irish audiences are biased but when Tadhg Barber gave his speech in Irish the audience in Cobh went wild with cheers and shouts. He had a big grin that was shared by the boys around him.
From a Distance was Theo Wilson’s solo. It was introduced as having fitting words and a message of peace no matter where you are from or what language you speak. I’m not sure if Theo has had a full solo before but if this was his first, then there was no sign of it. Measured, note perfect, and a great tone to his voice. I enjoyed it considerably.
Thomas Mushrafi was back for Once, joined by Edward Sargeant and Joseph Hill. I love this song on the album and it was great to hear Thomas again. The sad part of Libera is that we know that the boys age out and we lose them but we have our memories of those times; when they sang for us, and entertained us, and shared the gift of their voice with us.
Nearer My God to Thee. famous as being the last song the band played as the Titanic sank; is one I look forward to. The Titanic was built in Ireland and her last port was in Cobh. This version is led by the impeccable Joseph Hill with Theo Wilson and Oscar J James. I love it whatever arrangement they do.
Wilfred Gummer gave the farewell speech introducing the last song, and he told the audience that he only started singing with the group this year, and thatif the audience cheered enough they might just get an extra Irish song to see them off. The audience cheered loudly at this.Wilfrid invited Tadhg Fitzgerald to say goodbye in Irish which got more whoops of delight, and then bid us goodnight.
We then had the lovely Veni Sancte Spiritu, which is a fantastic song in concert. Very uplifting and happy and showcases lots of different harmonies. This came with some complicated choreography, with the boys weaving in and out of each other and often walking backwards. How they managed it I don’t know, especially on that small Kilkenny stage.
Which brings us to the encore, and the final nod to Ireland with a folk song that I know from the Dubliners with that trademark Libera style added. The Fields of Athenry is a song about the loss of loved ones during the potato famine and is one of Ireland’s most famous songs. One of the lyrics that really stayed with me where they sing about raising a child with dignity. An unexpected but very welcome finale to two great concerts.—Yorkie
Tour Review by Surpinto
Brace yourselves; this is going to be a long one ! And keep in mind I wrote it before finding out you would experience a livestreamed concert in Montserrat, so I wrote a LOT of details ! I write with memories both from the Kilkenny concert and the one in Balbriggan (Dublin), and added thoughts after the Montserrat livestream.
Though they were all very different experiences. I think, all in all, I enjoyed the Kilkenny concert more, for many reasons:
• first time hearing the concert
• great cathedral atmosphere and lights
• a seat that allowed me to see all the boys pretty well (from 2nd row) despite not being comfortable (a rocking pew, can you believe it?).
Balbriggan’s Lark Theatre was just as interesting, but different. It was the first time I attended a Libera concert in a theatre (conceived as a theatre, unlike Sinfonia Smith Square in London).
The sound was very clear and distinct—you could hear more of all the subtle parts being sung, and I could hear the voices of the boys directly in front of me. We were really close, like, too close! First row meant you had your eyes at stage level and sometimes the boys were standing just on the edge of the stage.
Also, I had some sound material blocking my view from the middle (mostly of the Bigs). I also think the boys were a bit more focused in Balbriggan, maybe due to having a few days of rest before, or to the intimacy of the theatre. This resulted in a lot of emotion through songs.
Last comment: the livestream from Montserrat was actually the best way to enjoy lights and sometimes staging (depending on the focus of the camera).
[Note: as of Mid-August, the livestreamed concert at Monserrat was available on Youtube at: https://www.youtube.com/watch?v=mmq4up8ifBQ (Concert at Monserrat, Spain/August 2nd, 2025/3:58:40)
(To access the concert portion of the video, move the red dot at the bottom to 1:38.)
The concert started with “I am the day”. Morgan Wiltshire delivered the solo, with a beautiful matured yet gentle voice, not pushing it, just soft but powerful enough. One of his best solos so far. His voice is amazing right now, but might break soon. The sad part is that this is all you will hear from him in this concert… he did not get another solo. 
Ben Hill did the high notes at the end, with answers from Freddie Howarth. The boys were sorted into two groups on each side, facing the sides of the stage, their heads low. At the end of the solo some other singers joined Morgan for the harmonies, I would name : Ben Hill, Joseph Hill, Pietro Vergani (who was definitely doing the whispering parts), Oscar James and Edward Sargeant. On the chorus parts all raised their heads and faced the audience for a dramatic effect.
Next was Sanctus, an usual song during concerts these days. I think the Sanctus in Balbriggan was one of my favorite versions seen/heard live ever, due to the quality of the sound, and the fact that the half-circle on stage was pretty wide, so that you could see all the boys very well. They started where they stood at the end of I Am the Day and then moved to form the half circle. Ben and Joseph Hill did the very high notes, but I notice the long “Sanctus” during the chorus part was done by Leon Clarke. It is the first time I’ve noticed him doing sort of a “solo”. He did really well.
There was a speech by Archie Robson and Samuel Whaley, who has quite a low voice now. I had never heard Archie before, but he is a great speaker and has a lovely smile. They introduced the choir and spoke of Libera meaning “free” in latin.
I believe they also mentioned the youngest boys on stage (William Dunbar and Oscar Dixon-Wayne, 8 years old) and oldest (Mitchel Guy, Freddie Howarth, and Ethan Hutchinson, 15 years old). Archie said a funny sentence (I didn’t hear much laughter but I loved it) , saying that they were in Ireland to “sing some sights, see some concerts and have a bit of fun”. (The audience laughed in Montserrat; I thereby decree that people are more fun in Spain).
Julian Heitman did the solo on One Small Voice, with Ben Hill and Morgan Wiltshire doing the introduction notes, and then Joseph Hill on the high part. Julian is doing really well! His voice is steadier, very clear, and he has a great control over his lungs… I was stunned more than once. I hope he get more solos.
Seabird was next, with the usual staging. Joseph Hill stood at the head of four lines of boys behind him. Then the lines expand to form wings on either side of him. It was particularly interesting in Balbriggan where the stage was wide. In Kilkenny, the stage being small, it was a bit more difficult.
I like the record by Luca very much, but Joseph owns the song in a different way. It is a bit darker, though very peaceful, like there is something heavenly in this bird’s inspiration that Joseph conveys, somehow. The harmonies on this one always stun me….just love the way the voices blend—it makes me feel like I am flying, indeed. That is what is precious about music, how can I feel like I am flying over the seas, when it actually never happened to me? Amazing. 
Orinoco Flow was next. I usually don’t care for the song, but the percussion was really good and there was something irish about it. Fitting ! A lot happened on stage, the boys moved to form groups, then two lines, at least twice. Sometimes they faced inwards, then front, then sometimes toward offstage. It is actually interesting to try to spot who sings what on that song. If you have ever tried to sing it you might have noticed you are short on air: well, they sing one part and another group sings another part and you won’t even notice if you don’t pay close attention, because it blends perfectly.
Cory Agyei and Edward Sargeant delivered a speech mentioning the song being by Enya, who is Irish. Then they talked about Seabird being written by Joseph and Ben Hill’s mother. They introduced the four pairs of brothers (Ben/Joseph Hill, Nathan/Caleb Slater, Federico/Pietro Vergani, Cory/Caius Agyei) and the older Libera singers now working for Libera, like Liam Connery conducting them (he waved from the balcony in Balbriggan, it was funny), and Moose “the executive producer!” And then they said the next song had been recorded nine years ago, when some of the youngers boys had not even been born.
Stabat Mater was great, with Thomas Mushrafi doing the solo. His voice is powerful and bright, but I fear it will break within a year. Yet, he looks relaxed. I was stunned with the overall quality of this song. The choir blends very well and powerfully, with a subtle climax and great lights, while the song is slow and dark. Thomas was standing in the middle, and the others were kneeling in two arcs.
Deep Peace was another highlight for me, which I did not expect. But Julian Heitman was so great on it! He carried the deep peace on stage and gently entrusted us with it… Like I said, his voice is amazing, and this solo actually isn’t an easy one. The choir handled the crescendo and dynamics really well. I was moved by the unity of the choir and what they gifted us through the lyrics. Julian was standing in the middle, with Lewis for back-up, and the other boys in two lines behind.
Joseph Hill did the solo on The Prayer. Some said it is a little-boy solo; I don’t disagree but don’t agree either. I like all sort of voices on that one, though I admit it does not showcase Joseph’s abilities. I wish he would sing a big solo on stage before his voice breaks, and was really hoping for “When I am laid in earth” for this tour.
That being said, the song was flawless, and moved me. I feel like the world needs peace and prayers these days, and Ireland was a fitting place to express it. During my stay there I learned a lot about their history, and I have seen a lot of protest against the famine in Palestine. Well, they know their bit about famine in Ireland. So, this might be why I felt connected to the song. Also there was a tsunami happening the same time as the tour. The boys were standing, with their hands linked in prayer, and they dropped them gently at the climax of the song.
Well I was already moved, but Do Not Stand definitely brought tears to my eyes. Boys were kneeling all around the stage facing different directions… Jerome Collins’ and Ben Hill’s voices work so well together ! It was amazingly good in both concerts. I cried in Kilkenny and found they were even more moving in Balbriggan…
Also, Jerome is a very special artist. I lack words to express it. Let’s say he sings with all his body AND soul. Even before he starts singing, he is smiling, absolutely at ease, but not in a bragging way at all. He looks just pleased and delighted to be humbly allowed to sing to us, and to the heavens (he sings while looking up a lot). You just can’t stop watching him and he expresses a youthful faith in life and its beauty I can’t explain.
Of course, Ben is remarkable as well; his voice is gaining in power and he has great control over it, and he is really good at harmonizing. I don’t know how old Jerome is, but the idea that these two are going to duet together for a few years is a delight in my opinion. I hope they record their version of this song, as it has not been recorded in a while and I don’t remember the two voices blending together so well ever. They are both very young which makes it even more impressive. 
Caleb Slater and Federico Vergani did the next speech, and mentioned Robert Prizeman founding the choir, and that he had written the last song. They also mentioned Nathan Slater playing the piano on it. They announced the break to come, and introduced Eimear McGeown on the flute, and Ruairi Glasheen on the bodhran, both of whom actually stood on stage for the next songs. Eimear said a few words and said the song was Kid on the Mountain. It was good to see them for at least two songs, especially in Balbriggan, since the musicians were at the balcony and thus not visible. In Kilkenny you could see the orchestra and it was great to see them stand in front of the stage for the final bow.
Kid on the Mountain was one of my highlights, despite the boys not singing so much. I love the work Eimear did on it (I purchased her album and got it signed), and even more with Libera, and I suggested they should record it together.) I am not sure how to explain the feelings the song conveys for those who did not attend the concerts.
Somehow I could see the mountains, the boy, I could see irish landscapes, and water streams, and kids jumping over it to go on an adventure. I am so grateful to have heard the song, it made this Ireland tour more special and unique and gave me a peak of the irish culture, which was one of the reasons why I wanted to attend this tour. So, Eimear and Ruairi were in the middle, and the boys in half a circle. Really, just find the Montserrat livestream now, it’s easier than reading my review. 
Edward Sargeant sang the solo for Exsultate to end this first part of concert, with just percussion and light piano notes for the start. It felt very pleasant and light-hearted. The flute was especially good, of course. (I think Eimear and Ruairi were standing at the sides of the stage.) The boys formed a big upside-down V, with Edward in the middle, standinga bit forward during the solo parts. Pretty dramatic on Balbriggan’s large stage.
INTERMISSION was a great time to purchase an album from Eimear as mentioned. Also, to speak with friends. While intermission at Montserrat was so short I did not even get time to queue to my own restroom! 
The second part started with She Moved Through the Fair, with Eimear again playing the flute and Ben Hill doing descants. In Kilkenny everyone walked on stage at the same time, with Ben and Eimear standing in the center. In Balbriggan they got to make it a bit more spectacular, with Eimear entering alone and starting, then the boys entering the stage, Ben first, and after a while the choir joining in the harmony. Ben is impressive with his ability to deliver very high notes without effort, beautifully. It was a perfect way to introduce the second part, quiet and mysterious.
Then Pietro Vergani came center stage to sing In Paradisum. His voice is strong, and yet still sounds quite young, but it might be on the verge of breaking Sometimes he seems to hit the high notes easily, but sometimes less. He has grown a lot, so it would make sense. Anyway, I really liked his performance on this song. (During the livestream he delivered ALL the notes perfectly.)
Leon Clarke and Oscar James did the next speech, about the white robes being not the usual outfit for south London teenagers. They said it is the sort of robes monks would have been wearing in the past, though the monks would not have split in several parts while singing.
They demonstrated the usual few notes from the song Libera, Leon conducting. Then they named the high, the first, the second, the third, the 4th, the 5th and the low voices… all boys raising their hands very quickly when their group was mentioned. You could notice that the very highest, Ben and Joseph Hill, have been joined by Emmanuel Mensah-Woods, who does not wear a microphone yet but is definitely singing a lot of the high parts.
If was another stunning moment. Jerome Collins really is fantastic, and he made something new with that song. I really loved Daniel White’s If, I still do, but they sound like different songs. Daniel’s interpretation, to me, is a bit dark; maybe it’s all in my head, due to the song being released just after the lockdown. It’s like, this “If” is rhetorical, knowing stuff will go wrong anyway but it doesn’t stop you from having hope and being a gentle soul.
Jerome’s If is… authentically bright? Hopeful? Like, he really genuinely candidly hopes for all to happen and be fine? And he smiles gently, and you smile with him… I found it appeasing. I wanted to believe with him and I wanted for him to be right, for his own sake. Can’t remember a thing about the staging, my eyes could not leave Jerome, but I gather the boys stood in two arcs around him.
Salva Me is nothing new, but I always love the song, the staging with the praying hands rising up. I wish the raised hoods would still be a thing though. Ben Hill’s voice fits very well with the song. I remember four groups, twoon each side of Ben. (Hey, the live stream allowed me to fulfill a dream. I always feel the need to do the hand moves with them, and I could absolutely do it at home!). Great red lights, dramatic.
San Damiano is not a favorite of mine but it is not sung live every day and I enjoyed it a lot; so did the boys if I trust their smiles. I felt like it lacked a bit of staging, though. They did not move at all, while the song is quite upbeat. But so much fun, really.
I really enjoyed how Gabriele Marini then explained that the song came from Italia, just like him and Pietro and Federico Vergani. They then proceeded to speak in many languages, a twist that had not been displayed for some years. Lewis Pearson is from Slovakia, Oscar James from Croatia, Julian Heitman from Germany, Leon Clarke from Poland, Max Bolton from Colombia and Thomas Sandoval Herrera from Ecuador… And Tadgh Barber spoke in Gaelic of course ! The audience cheered a lot.
From a Distance is not one of my favorite songs, but I don’t mind hearing it live and actually got moved by it being introduced as a prayer for peace so clearly. Theo Wilson did a great job on the solo; his voice is very soft and friendly. It made a great impression in Montserrat! Was he even better than usual or does his voice just fit the sound we got on the livestream?.
Once was a highlight, both times, but the staging was better in Balbriggan (the boys just had an easier time moving on stage). This song has an overall atmosphere that makes me relax. I hope it stays on the setlist for a while. Like before, Thomas Mushrafi was is the middle, with Joseph Hill and Edward Sargeant for support on the second verse. The other boys were on both sides, facing outside the stage. Then they walked backward and crossed to the other side, without bumping each other, and then faced each other. It’s a nice staging. Enjoyed it very much during the livestream! You could see the staging very well.
Nearer my God to Thee was quite special, in Balbriggan, with the intimacy of the theatre. Joseph Hill was super close to the audience, and just in front of him sat a fellow Libera fan that has been attending many concerts in years. And there was sort of a connection between the two of them, I am not sure Joseph realized, but the person in front of him was watching him with stars in his eyes, breathing with him and silently cheering him with vibes. I wish I could have taken a pic, honestly.
One needs to be brave to start that song, a cappella. I really enjoyed it, I just wish I could have seen James (he was blocked from my view both times), and Theo Wilson’s voice could have been amplified better. I was impressed by Oscar all night; he does wonderful work on the middle voices. I could hear him pretty loud on some songs and he has a great ability for harmonies. Also, he is 100% into the performance. I hope he gets more solos, real solos on his own.
Wilfred Gummer then introduced himself, and said he started singing with Libera just this year. And then said it was time for their last song, though if the audience clapped enough, they had a special Irish encore. He called to Tadgh to say his goodbyes in Irish Gaelic.
Then they sang Veni Sancte Spiritu, with the same staging as usual, a LOT of moves. In Kilkenny they had to make it easier due to the lack of space on stage, and they dropped the swapping of lines. So, how to describe it? They move all the time like in circles intertwining, sometimes they all stop at the same time on specific words. Then they form two lines, and then they swap, the front line going back and vice versa. At some dramatic points in the song, they all walk one step forward at the same time, that is impressive. It’s a fun song, really. You want to dance a bit. Again, watch the livestream, you will see for yourself! 
The encore was A-MA-ZING and I hope they record it (if it isn’t done already). Sure, The Fields of Athenry might seem a strange choice for British boys, since it is quite political if you look at the lyrics in detail (and well, the British government isn’t the hero of Irish famine), but it is also a story of a family being torn apart that I think even the boys can understand and convey.
They often sing about the need for peace, it suits them. And the arrangement is fantastic. It seems to be quite difficult to sing. I was impressed, I still am, I will never recover from that song.
Now, fun fact : from the Kilkenny concert to Balbriggan I have been humming to myself “long live the fields of Athenry”, thinking these stupid lyrics did not make very much sense, the fields can’t have looked great during the famine. Indeed, I am the stupid one. “Low lie” makes much more sense.
Yeah I know it was quite a long review, but I can’t refrain from writing more. I just want to mention smiles, dreamy faces… I was really moved by Tadgh Barber’s absorbed expression, and Wilfred Gummer’s genuine smiles that flashed from time to time. Ariyan Abbot is a dreamy one as well, while Jerome Collins is always smiling and somehow moving with the flow of music (which reminded me of Joseph Hill when he was younger).
Now, one thing I feel the need to say is that the choir has changed a lot this last year. The 2 last batches of newbies include : Ariyan Abbot, Oscar Dixon-Wayne, Wilfred Gummer, Arthur Lipscombe, William Dunbar (+ others than did not make the tour),Caius Agyei, Tadgh Barber, Max Bolton, Jerome Collins, Emmanuel Mansah-Woode, Archer Robson (+ Casper Duncan-Windley who was missing for the tour)
This makes a total of 11 out of 33 boys new on this tour, thus a third. And yet the choir sounds at its best. Sure, the newbies (other than Jerome Collins) have yet to sing solos, but they already engage in speeches and high notes. This means, in my opinion, that Libera is doing GREAT.
And the number of concerts planned for this summer, autumn, winter and spring to come (with two new countries, Spain and Malta) are a testimony. Many current soloists might end up in the back row soon enough, but there are others who have years to sing as trebles. I just wanted to acknowledge the work that has been done both by the boys and the staff, since the passing of Robert Prizeman. One could have been worried, but the older boys, as they say, forming the family of Libera, are handling it. This is my thank you to Sam Coates, Liam Connery, Steven Geraghty, Tadgh Fitzgerald, Kavana Crossley and the others we see still engaged with Libera.
Post-Montserrat addition :
Now, ok, Ave Verum IS a solo up to Joseph Hill’s voice ! This was wonderful! I hope to hear it live. I would like more recordings of him as well, thanks. If I’m asking too much, that’s their fault for providing too much fun and surprises this week.
Virolai : I was really moved by how everyone stood up, but I did not enjoy the song very much. But who cares if I enjoyed it? It’s great that they can adapt and give some joy to people wherever in the world, with local songs! Also, it was very fitting for the Millennial.
EDIT : OH WAIT, I said nothing about my week in Ireland. I absolutely LOVED it, visited a lot, enjoyed the landscape, ate Irish stew, swam in the sea (and got stung by a jellyfish), and met a lot of friends from all over the world. Thank you everyone for being so nice!—Surpinto
A Note on Monserrat by xJohn45
At Montserrat I chose to sit about two-thirds back on the outer side of the left aisle. The sound was excellent, definitely better than upfront, as Robert always used to say.
The stage view was unobstructed but there were no close-up distractions of who had an itchy nose, whose shoelaces were undone and who had spilt orange juice on their lovely white robes - I could simply concentrate on the music and appreciate the magnificent setting and the beautiful lighting. Doesn't mean I won't sit up front again but just that it is well worthwhile to watch the show from a different perspective from time to time.
I was so glad that those of you who were not able to be here in person were able to watch the concert on livestream. Even if you missed it live, it will probably be available on video somewhere so no need for a full review, but thanks to the excellence of recent reviewers I have been shamed into silence anyway.
But I have to say that nothing beats personal attendance, especially to experience another "Bayan Ko" like moment, as we did last night with the reception for "Virolai". The entire audience (well over a thousand by the way) stood as one and many began to join in but were soon silenced by the beautiful solos of Pietro Vergani, Jerome Collins and Joseph Hill.
During the rehearsal I had asked one of the monks about the significance of the song (he was dressed in mufti but I had seen him in his priestly robes earlier on). He explained that during the Spanish Civil War Franco had banned the singing of the official Catalonian Anthem and that "Virolai" was adopted as their unofficial national song in its place. It remains a great source of pride for the Catalonian people as well as an expression of devotion and has great meaning for them.—John45
Fan Luckdragon adds:
On August 7th, Libera announced that soloist brothers Joseph and Ben Hill would appear in a gala celebration for the Royal Marsden Hospital.
"This special Gala Concert celebrates the evolution of The Friends and the enduring legacy of The Royal Marsden Hospital and its volunteers throughout the decades.
Curated in collaboration with Dominic Ferris (Steinway & Sons ambassador and internationally acclaimed concert pianist), alongside journalist and author Sophia Money-Coutts, attendees will enjoy a journey of music and reflection as they honour the charity’s 90-year history, from the formation of The Ladies Association in 1935 to the flourishing Friends of The Royal Marsden today.
Held in partnership with Steinway & Sons, the evening features performances by BLAKE, Georgi Mottram, Dominic Ferris, world-class choristers Joseph & Ben Hill from Libera, and The Chelsea Pensioners.
We also look forward to welcoming guest readers (appearing both in person and on screen), including Dr Sian Williams, who intersperse music with ‘letters live’ of the journey through time.
On August 9th, the first poster for the Philippines/Indonesia tour appeared on Instagram:
End of Part 18A For Now
