From The Glasshouse: A Night of Jazz Innovation and Energy

From The Glasshouse: A Night of Jazz Innovation and Energy

From The Glasshouse: A Night of Jazz Innovation and Energy Featuring Faye MacCalman, Moonfish, and the John Pope Quintet

Invited| Review by V.Brewster

Photo Credit: Barry Pells

Curated by Jazz NorthEast, The Glasshouse hosted a night of boundary-pushing jazz, showcasing the incredible talents of Faye MacCalman, Moonfish, and the John Pope Quintet. I arrived 15 minutes before the show began, and the theatre was already buzzing with energy, packed with music lovers who were still trickling in. It was a brilliant sight to see so many people supporting live music on a Thursday night—a testament to the investment and development The Glasshouse has put into creating a space for artists to thrive.

After heading up the sweeping double staircase and grabbing a drink from the Sage 2 bar, I found one of the last remaining seats in the theatre, ready for the show to begin.

First up was the multi-instrumentalist Faye MacCalman. The moment the house lights dimmed, the audience fell silent, and Faye began what I initially thought was an accomplished tenor sax solo. But it turned out to be just a warm-up for something much more complex. She layered in a sampled synth, creating rhythmic, industrial-sounding percussion that juxtaposed beautifully with the smoothness of the sax. One of the standout moments came when Faye ran up and down scales three times in the space of a single bar—an incredible display of her technical prowess. This is in addition to using a loop pedal to assist in layering that sound, which is no small feat, especially in jazz.

As the set progressed, Faye added more layers: another synth, her own vocals, and even a clarinet, which transported me straight to a 1930s jazz club. This was all complemented by an impressive syncopated light show, operated by Glasshouse lighting tech Josh, who I later found out was running the lights completely on the fly. If I hadn’t been seated near the lighting desk, I would have sworn it had been pre-programmed. His intuitive connection to the music enhanced the performance in a way that felt almost symbiotic.

Next up was Moonfish, the duo project of Maria Chiara Argirò and Riccardo Chiaberta, blending piano, synths, drums, and electronics in a dynamic fusion of tradition and innovation. Their music felt intimate yet adventurous, weaving storytelling into their soundscapes. Riccardo’s masterful drumming was a highlight, particularly when he let Maria’s looping grand piano rhythm shine by fading his drums into darkness. That moment, shared with the audience in silence, was powerful and profound.

The final number from Moonfish was pure, controlled chaos. It felt like being swept into a jazz rave at a manic circus—an experience that was both overwhelming and exhilarating. If you want to know what that feels like, I recommend seeing Moonfish live for yourself. Their latest single, “Endless Dive,” is out now, with more new music dropping next week.

During the brief intermission, while the stage crew reset for the final act, I took the opportunity to chat with Lyria, the sound engineer for the evening. It was clear the Glasshouse team had pulled off an impressive feat, especially considering the challenges of working with unfamiliar acts and the complexity of live contemporary jazz. Lyria was quick to credit her colleagues, stage manager Martin and stage tech Ben, for their hard work turning over the performance space.

Finally, the evening’s headliner, the John Pope Quintet, took the stage. Johnny Hunter on drums, Graham Hardy on flugelhorn and trumpet, Faye MacCalman returning on tenor sax and clarinet, and Alicia Gardner-Trejo on flute and baritone sax filled in beautifully for regular alto sax player Jamie Stockbridge. Newcastle-based John Pope, the man of the hour, commanded the double bass.

The quintet’s performance was a whirlwind of adventurous energy. They blended intricate rhythms and harmonies with a freewheeling improvisational style that struck a perfect balance between structure and spontaneity. Each musician was in sync, feeding off each other’s energy to create an unpredictable yet utterly engaging experience. While rooted in traditional jazz, their music wasn’t afraid to venture into avant-garde territory, with hints of rock influence creeping in to keep the audience on their toes.

This evening was a night that showcased the diversity and innovation within the contemporary jazz scene. Faye MacCalman’s solo set displayed jaw-dropping technical skill and creative layering, Moonfish transported us into a world of storytelling jazz with an experimental twist, and the John Pope Quintet closed the evening with an electrifying performance that fused tradition with modern daring. Each act brought something unique to the stage, making this a Thursday night that won’t be forgotten any time soon. I still have one question though – how on earth did they get a Steinway grand piano onto that stage?!

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