Making Tracks at London’s Grand Junction

Now in its sixth edition, Making Tracks is one of those not-to-be-missed occasions once autumn rolls around. Eight young artists, each from a different musical world, get together for two weeks of concerted collaboration, which continues to evolve across a two-week tour. This year featured participants from the UK, Syria/Germany, Denmark, Kenya, Xinjiang and Finland (see makingtracksmusic.org/fellows for the full list; they deserve more recognition than can be included here).

For this tour’s penultimate concert at London’s Grand Junction, we were treated to two-and-a-half hours of unique team-ups interspersed with solo showcases from each musician. All eight remained on stage throughout, and it was always exciting to see who would stir to join in the next piece – will it be a medley of Newfoundland, Uyghur and Swedish songs? A composition for Arabic violin and tama (talking drum)? Hurdy-gurdy and Kenyan drums? It’s impressive just how accomplished these musical relationships were after such a short – albeit intense – gestation. Interspecies connections were also emphasised this year, with nature embraced as an equal participant – from transcriptions of whale song to electronically wrangled biosignals of sea kale. The high, intricately decorated Victorian church ceilings of Grand Junction afforded interesting reverberations, highlighting acoustic elements that would have been lost in a less cavernous venue – a lovely marriage of sound and space.

Making Tracks has hit upon a winning formula, for the creation of both beautiful music, and lasting artistic partnerships. In his opening speech, director Merlyn Driver referred to the concert as “nourishing music” – this really is the sort of project that can achieve meaningful new musical directions.

This article originally appeared in the December 2024 issue of Songlines. Never miss an issue – subscribe today