Si's Sights And Sounds

The Canadian composer conducts his "sewing machine orchestra" as part of the Music City celebrations in Derry-Londonderry

The very first sight that greets my eyes inside the old City Factory in Derry-Londonderry's Patrick Street is a singer. But this is no ordinary singer – it's one of eight Singer sewing machines, lined up side by side and connected to a Macbook. It's an extremely clear hint of what's to come.

As composer Martin Messier starts the machines, one by one, the sewing noise sounds more like a very old tin drum kit, while the turning mechanism at the back of each machine rumbles like an electric guitar being prepped for a very long night on the stage. Even though we have come to hear music, the mood is not that of a music factory, nor a shirt factory; rather, a famous chocolate factory, where something weird and potentially wonderful awaits our as yet unopened eyes and ears.

For Messier, this is the end result of years of consistent experimentation. The Canadian artist-cum-musician had previously worked with many objects over time, including an alarm clock, and had recently wondered what object he could next manipulate to create sound. He happened upon the sewing machine – a timely instrument for Derry, in the midst of the fascination surrounding the history of the city's own shirt factories.

At the beginning, lighting is sparse and infrequent, creating an eerie atmosphere. Then, one of the "singers" kicks off into a sewing rhythm that gradually escalates in tempo before the other machines follow suit. The sewing beats vary in speed and sound amongst a cascade of flickering sewing machine lights; were you to shut your eyes, you would think that you were travelling on the London Underground in the nineteenth century. A composition with vitality worthy of Political Mother, the small crowd are quietly entranced by Messier's "music".

The "music" is structured in such a way as to create a pseudo retro sound, a modern techno beat – not enough to make one groove, mind, but enough for a nightclub vibe, with prominent clicking, excessive throbbing and eminent mini-strobe lighting. As the band of machines play on, our fascination with the patterns of light never ceases. Even when a phone goes off, it only adds to the naturalism of the sound, rather than detracting from it.

If the act does reek a little of repetition near its end – once the novelty wears off, its appeal isn't quite as sustainable – it is still a good, and possibly the only proper, soundtrack to the surroundings of this theatre. By both looking back and looking forward, Messier has created an admirable composition, an extremely novel and hugely appropriate backdrop to shirt factory history.

What starts as a delicious piece of Cuban cuisine ends up as Pink Martini lite

The timing of Buena Vista Social Club's first appearance in Derry-Londonderry, the Venue to be exact, is rather unfortunate. Aesthetically, it looks very pleasing before it's even begun, with the brass instruments, drums, bongos, guitars, percussion instruments, double bass and grand piano bathed in multicoloured, even multicultural, lighting. There's little doubt that true fans will be overjoyed. But - and this is a big but - will this performance pack enough of a crowd-pleasing punch for the neutral, already exhausted by a day's worth of musical talent?

Early signs are good. Vocalist Idania Valdes, wearing a fetching green dress, tangos sweetly with the band leader as the guitars play on and the audience clap intensely. Almost no one on stage speaks English, but the catchy rhythms suggest that the language barrier might not be a problem. It's very easy music to groove to - I am both moving to and being moved by Valdes' surprisingly deep vocals and the band's synchronicity. "Shades of Pink Martini at the Millennium Forum", I whisper to the lady standing beside me, and she agrees, smiling.

Little do I know that "shades of" is as good as it is going to get.

At first, it really is all very energetic and enjoyable. When remarkable leading lady Omara Portuondo enters the fray, prior to an explosion of prolonged drumming, relentless bongos and intertwining guitars, the locals are stunned and the foreign communities are swept off their feet into a state of ecstasy. Almost everyone near the front of the hall appears to be dancing, and the clapping continues when the trombone and double bass become exceptionally prominent.

But the band's magic formula is already beginning to show its seams.

While the quality of the sound is generally very good, not everyone on stage seems to know what they're doing. Valdes' seductive poses, so arresting at the beginning, fall a little flat amidst the loud instrumentals. A few catchy tunes, notably "Baila el Cha Cha Cha" and "Qui Sas, Qui Sas, Qui Sas (Perhaps, Perhaps, Perhaps)" lift spirits a little. Yet something is still lacking. There's a moment where Portuondo looks at the audience and points to her ears as if to say, "Why aren't you singing?" Probably because repetition has kicked in.

You sense that, at least while Portuondo's on stage, there's a tongue-in-cheek side to the performance longing to bubble to the surface, but this is submerged by the band's all-too-well mannered, even safe, nature. All too often, this results in a curious detachment; many momentous melodies, minus magic and mystery.

Credit Buena Vista Social Club, at least, for their consistently professional and energetic musicianship. And there are still a few high points to come, like (in my opinion) the Cuban Paddy Nash, Eliades Ochoa. It's kind of amusing, and welcomely surreal, to hear everyone else's ultra cool, whispery vocals while he plays away in the centre of the stage.

Moments like this, however, are a rarity. The appearance of a clown near the end - a man with a coloured handkerchief and white top - reeks of desperation alongside music that has become too indistinguishable for my liking. Yes, the Venue floor is rumbling a little with the sound of dancing couples, but when compared to the slick cinematic storytelling of Pink Martini, this is markedly inferior.

A stronger repartee and more varied repertoire to go with the drive and mildly likeable, if repetitive, tunes would have raised this reviewer's opinion of the concert no end. On the other hand, it appears to have given the people both inside and outside the Venue a real buzz, so that can't be all bad, can it?

The London-born crooner embraces his roots with a seasoned, slick and stylish debut show in Derry-Londonderry

In the wake of the disappointing Buena Vista Social Club, Ebrington Square's Venue is in need of some zest. Some real musical punch. And that is exactly what Elvis Costello, accompanied by The Imposters, provides on his return to the land of his ancestors, in his first appearance in the City Of Culture 2013.

The very moment the lights dim and thunderous, macabre music surrounds us, Costello steps forward to begin strumming one of the many guitars he will use on the night. One already senses we will be in for one of the best musical experiences of this cultured year.

And it only gets better.

Backed by what is almost certainly the best drumming and keyboard playing I have heard all year, Costello rattles through his early numbers at a very quick tempo, without stopping for a breather. Along with keyboarder Steve Nieve, drummer Pete Thomas and bassist Davey Faragher, Costello marks his territory on stage very early on with an almost unbelievable engine, coolness and level of skill.

His vocals are clear and soulful, like Billy Joel minus the cheese, and he's not averse to giving us a singable refrain or two. By the time he finally stops to shout, "Good evening Derry!", one wonders: can he and the band possibly keep this up? Answer: Yes they can.

"You Don't Know What Love Is" is both reassuring and energizing, with the strong, bluesy vocals really getting under your skin, while "Everyday I Write The Book" inspires everyone – even me – to clap, creating an atmosphere in which you can't hear a pen – mine, that is – drop.

Realising that the tone might be getting a little one-dimensional, Costello switches genres with the reflective, bluesy "Either Side Of The Same Town" and the nostalgic ode to Johnny Cash's daughter, "Song With Rose." Merely mentioning the Man in Black is enough to inspire our bandleader to both amuse and entertain us with a funny tale of meeting Cash himself, before giving us a version of "Cry, Cry, Cry." At the moment, it's all about the music, and rather fine music it is too.

When "Watching The Detectives" starts up, things get very funky indeed. Costello encourages his audience to leave their seats and come to the front of the Venue, and many oblige, resulting in the best moment of the concert so far. His guitar solo, aided by a megaphone, reverberates around the Venue like a sonic boom of joy. It's pretty astonishing, as is the extremely jungly "Bedlam", which creates an off-the-wall beat worthy of Guns 'N' Roses at their peak.

The real highlight of the night, however, arrives when Costello switches to romanticism, waltzing off stage and into the audience itself for both "Shipbuilding" and his cover of Charles Aznavour’s "She". Those lucky enough to shake his hand or be waved at during these two songs will surely never forget this moment. But the songs themselves, especially "She" – made famous in Notting Hill– are enough to make one feel fortunate, melancholy and ecstatic all at once. For this reviewer, it is like being transported back to the cinema in 1999.

Following this really won't be easy, and Costello knows it. Therefore, he decides to acknowledge both his heritage and his surroundings with some “history lessons”. Whether he’s talking, or singing, about Letterkenny in 1921 with "A Slow Drag With Josephine" or a girl travelling into theatres and choosing to go into cowboy music in "Jimmie Standing In The Rain", the effect is the same; catchy, mid-tempo guitar rhythms mixed with a hugely affable persona. (He never forgets to remind the audience how lucky he feels to be playing in Derry-Londonderry.)

In many ways, he's a singing comedian, lovable ol' Elvis rolled into an irresistible package. Suddenly, his resemblance to the legendary Eric Morecambe no longer seems that coincidental.

A series of fun, easy-going sing-alongs follow, providing deserved interval-esque breathers for Costello, the band and the crowd, before the initial eighty-minute set concludes with a turn for the serious and sombre. A heartfelt tribute to the father he lost to dementia ("Suit Of Lights") precedes the angry and controversial political commentary of "Tramp The Dirt Down".

The rather unsettling effect these songs have on Costello cannot be ignored as he begins the first encore with somewhat regretful, ballad-y tunes that aren't really suited to him or the band. But, to quote a very famous singing duo, his voice generally carries you through this rough spot like a bridge over troubled water. And he is back on top form by first encore's end, channelling 1980s Paul Weller and delighting mod rock lovers all over the Venue. It's a great tonic for the summertime blues.

As the second encore starts and ends - with "Alison", "Pump It Up" (watch him perform it at Glastonbury 2013 below) and "What’s So Funny 'Bout Peace, Love & Understanding?" the highlights - it becomes clear to me why Costello appears to have won over the Derry-Londonderry crowd like no other singer in the Venue has this year. He has been a firecracker, a hugely appreciative, expressive, vivid and versatile performer who has seemingly covered a lifetime's worth of genres in one night. Seasoned, slick, and stylish, with genuinely good and sometimes otherworldly musicianship, Elvis Costello & The Imposters' contribution to the City Of Culture 2013 deserves to be fondly remembered.

In the latest comic book "reboot", Zack Snyder goes for dark grandeur, but ends up with something closer to Michael Bay

"Remember Brandon Routh from that godawful Superman movie? Jesus Christ! Thanks for getting our hopes up and taking a giant sh*t on us!"

-- Sir Patrick H. Stewart

Yes, everybody remembers that "godawful" movie. But looking back, I don't believe Superman Returns was so much godawful as far too reverent to Richard Donner's 1978 Superman, the one everyone remembers. In desperately trying to recapture the magical essence of Superman '78, director Bryan Singer basically remade it, with better special effects, a hammier Lex Luthor and a more attractive but too young Lois Lane. There is such a thing as getting too close to your inspirations, and that's exactly what Singer did.

Hence we watched the character become clouded out by the mythology that stemmed from the connection between film and inspiration; to many, Christopher Reeve is Superman/Clark Kent. Perhaps a bigger problem for Singer, and for any Superman film post-Reeve, is that Superman '78 was truly a film of its time. You can't just take a hero out of the pre-Reagan late seventies and plant him in the postmodern noughties as if virtually nothing has happened. Superman Returns, at best, is little better than a comfortable nostalgia pill. Instant, easy satisfaction, with little lasting value.

Enter Zack Snyder, who along with Christopher Nolan and new lead actor Henry Cavill, has created a titular Man Of Steel more in keeping with our times. Stripping down the icons Donner and Reeve so expertly cemented in our heads, Man Of Steel reboots Superman as the equivalent of Back To The Future with a self-knowing Marty McFly in an apocalyptic wasteland. It's clearly aiming for dark grandeur, but to these eyes it is mostly the Michael Bay version of Superman, with enough massive set-pieces and epic camera work to obliterate serious contemplative thought. And is that a good thing? Only if you can't wait for the next Transformers sequel.

I've never been the biggest fan of Snyder. Even in his most notable work – Dawn Of The Dead '04, 300, Watchmen– he comes across as a weak visualist who needs both comic book lore and his cast to bail him out and create something memorable, even watchable. Perhaps, on reflection, him and Christopher Nolan are more alike than either Snyder or Nolan fans would care to admit – Nolan has only really touched greatness through his Dark Knight trilogy, and its negative effect is being felt in the numerous imitators it has "inspired", and continues to "inspire". Including – especially – Man Of Steel.

It would, admittedly, be unfair to judge Man Of Steel too heavily in the context of the Superman films that precede it. And on its own, it's very successful as an origin story, moderately successful as a surface chronicle of Clark Kent/Superman's inner fears and foibles, and dependable as far as summer action flicks go, with just the right amount of effective heroes and villains. Praise must go to Henry Cavill, Russell Crowe (as Jor-El), Kevin Costner (as Jonathan Kent), Laurence Fishburne (as Perry White), and, to a slightly lesser degree, Amy Adams (as Lois Lane), who step into the iconic roles without feeling burdened by their predecessors. Michael Shannon is not so fortunate as chief villain General Zod. Saddled with one-dimensional sidekicks who recall Ursa and Non from Superman II in all but name, he’s unable to escape Terence Stamp's shadow. Put him in the Tom Hardy (see Star Trek: Nemesis) and Benedict Cumberbatch (see Star Trek: Into Darkness) school of "excellent actor defeated by screenplay", though to be fair, the conviction in his line delivery is enough to clarify Zod's slippery amorality, if only fitfully so.

For all its attempts to move forward, Man Of Steel is continuously looking back. Choosing to straddle that maddening line between reality and fantasy, like so many "smart" and "gritty" blockbusters do, flesh and blood characterisation becomes short changed in a cartoonish oasis of retro madness. Reducing the cheesiness of Superman is all very well, but not at the expense of giving one nothing to remember except corny symbolism and moments lifted from 300, Batman Begins, TV's "Smallville" and, of all films, Independence Day.

Be grateful, at least, that Jor-El doesn't shout "THIS – IS – KRYPTON!" before he imprisons Zod in the Phantom Zone. And that Cavill and Adams, at least, will have another chance to express themselves in the (hopefully much better) sequel.

A lively chronicle of Derry-Londonderry's past, present and future gives the audience plenty to be happy about in the city's Guildhall

Contrasts. That's the name of the game on this celebratory occasion in Derry-Londonderry's centrepiece, the talk of the town, the hall to rule them all. Pop vs. Opera, People vs. Things, History vs. The Present Day, London vs. Derry - all are explored by the Codetta Choir, Camerata Ireland, The Music Promise Choir and The Sixes And Sevens ensemble in a cantata by Mark-Anthony Turnage that has something for everyone.

Working with poet Paul Muldoon, Turnage has composed a thorough and always interesting musical and lyrical exploration of the city so famous they named it twice, delving into the troubles and benefits that have resulted from Derry-Londonderry's four-century association with London. It's a lively chronicle of how music has shaped, and will continue to shape, the past, present and future of the City Of Culture 2013.

The awe one feels as he or she enters the recently refurbished Guildhall and takes his or her seat is unmistakable. The Londonderry Musical Society ladies sitting near me reminisce about the shows they used to hold here, and we all comment on how the newly painted pipes and organs, and new lights, have really brightened up the place both aesthetically and metaphorically.

But Derry-Londonderry's is not the only Guildhall celebrating tonight. The City Of London Guildhall will be hosting a similar programme of music simultaneously to mark the 400th anniversary of the King James I charter, which saw the City Of London and fifty-five of the London livery companies participate in the Ulster Plantation. It was certainly a troubled association, with more than its fair share of ups and downs. But it also resulted in a new street layout, buildings, St. Columbs' Cathedral, and perhaps most significantly, the unique walls which stand to this day. Will the composition we're about to hear, conducted by Barry Douglas, do justice to all of this?

The Prologue is laden with mournful foreboding, with a gloomy clarinet solo prominent beside unsettling strings. It has a tone reminiscent of horror, and yet, you feel comfortable in the presence of such rich music. Arguably too rich to begin with, for in the early stages of A Stone's Throw, the Music Promise Choir and Codetta are struggling to make themselves heard.

That all changes following our first encounter with baritone soloist Benedict Nelson, on the seventh line of the song. From here on in, the tune is a tribute to both the strength and durability of the Derry Walls, with the jolly woodwind solos leading into a low tempo, "strung out" - that is to say, played by strings - calypso, with powerful vocals from both Nelson and Codetta.

From horror, to dance, to thriller, as Sarah Murphy's Sixes And Sevens ensemble - the undisputed highlight of the evening - present the first part of their Walls & Windows performance. An instrumental of Mission: Impossible-like nature (Lalo Schifrin would be proud) precedes a harmony of clock chimes which slowly dies out. Weird it may sound, but it is extremely effective, as is a spoken choral recital about the walls with rap on top. If your feet aren't tapping by this stage, then you are enjoying the harmony of the ensemble or the substance in the lyrics. Such substance is built upon in the group's next remarkable recital, which explores the place of various objects and other people - historical artefacts, family, toys, music, fictional characters and so on - in our lives. Does our personality belong to these things, or do these things belong to our personality, the choir seem to be asking? It's food for thought in the midst of what, so far, is a highly enjoyable show.

A breather is taken for the sombre, tongue-in-cheek storytelling of As I Roved Out (which twice references the "skeleton on a mossy stone" in the Derry-Londonderry crest) before we hear arguably the best music of the night. A deceptively bold and strident solo from Benedict Nelson doesn't prepare us for the unexpectedly thrilling and upbeat tone of Worshipful Company. Catchy and intriguing, the song is a good showcase for sharp Codetta singing, well paced conducting by Barry Douglas and extremely contrasting lyrics and music from Muldoon and Turnage respectively. It's a smart commentary on the horrors of the troubles and the banality of everyday modern life - simultaneously.

Songs like this, and the Sixes And Sevens Ensemble's take on a similar theme - which sees conductor Sarah Murphy bring her choir and orchestra alive in true Sister Act fashion with lots of finger-clicking and a slick 1980s beat - cast such a shadow over proceedings that you have to admire Codetta, the Music Promise Choir and Cantata Ireland for keeping up with them in their own inimitable fashion.

I Wish It Could Be Clear provides the opportunity for Aoife Miskelly's lovely, well-elocuted vocals to shine, even if the merging of opera and Irish music is a little uneasy here. Less uneasy is Against The Wall, where we hear the youthful clarity of the Music Promise Choir come to the fore alongside an excellent trumpet solo, and Derry-Londonderry, which features the involvement of every vocalist and instrumentalist on stage. Concluding with the whispering of voices and the soft tinkling of bells, it finishes the composition in the same mournful, yet hopeful, manner in which it had begun.

Following the interval, it is left for Mark McCauley's film to illustrate the artistic and communal capabilities of city landmarks, particularly walls, before we bear witness to a full performance of Muldoon and Turnage's composition minus the At Sixes And Sevens ensemble. And if the repetition of the piece takes away the element of surprise that was present earlier, at least it allows for careful reflection on the richness of the music and the cleverness of the lyrics.

In the first half of the concert, we bore witness to youthful exuberance versus seasoned professionals, enjoying the abilities of both; by the time the second half of the concert is over, we find ourselves contrasting the first half with the second. And the soprano vs. the baritone. Drums vs. Strings. Guitars vs. Keyboards. Calm vs. Energetic. At sixes and sevens... Suddenly, it occurs to me that there couldn't have been a more apt title for this piece.

Si's Sights And Sounds reflects on Derry-Londonderry 2013 to date, hailing the city's achievements, identifying areas for improvement and looking to the future. Featuring Highlights Of The Cultural Year So Far

It's been said that the strength of a person, or people, is not defined by how he, she or they prepare for everything to go right, but by how he, she or they stand up and move. And that is exactly how Derry-Londonderry is being judged just over half way through the City Of Culture year.

Watching that Voices video (below), which never gets old despite the Peace Bridge being far from complete at the time, reminds one how full of hope and ideas we Derry citizens seemed to be at the time of our City Of Culture triumph back in 2010. As I noted last New Year's Eve, we were basking in an optimistic glow akin to Obamamania. Just Say Yes was our Yes We Can, except No We Hadn't. Not then.

But today, we can take much more than mere comfort in looking back at the numerous positive experiences of Derry-Londonderry 2013 to date.

The New Year fireworks were suitably spectacular. Three times, the city was a record breaker, firstly with the BBC Red Button on Sons & Daughters, secondly with the numerous Annies who packed Ebrington Square, and thirdly with the Brides Across The Bridge. Political Mother blew our minds. The Music Promise has benefitted, and is continuing to benefit, many young people. Almost 40,000 lined the streets for the Return Of Colmcille. The Royal Ballet and the London Symphony Orchestra performed to sell out crowds. Both TV and the naked eye bore witness to iconographic imagery and numerous popular musical genres at Other Voices and BBC Radio One's Big Weekend. And there's still Lumiere, The Turner Prize and The Fleadh to come, among other things.

Everything up to and including City Of Culture 2013 has given many, including this writer, vision and drive; the chance to, as Fleadh volunteer Sheila Kearney put it, rekindle creative energy and explore new possibilities. Previously lesser known artists like Tommy Long have had the chance to exhibit, and pass on their skills to the next generation. John Peto's Digital Book Of Kells has been a valuable historical and technological learning tool for children all over the city. Entrepreneurs like Joanne Doherty of Piece Makers have told stories about the city through their products and technology.

Clearly, a lasting communal and cultural impact has already been made, stretching beyond sight and sound, and begging to be strengthened and cemented.

It is how we strengthen and cement this impact that will the legacy of 2013. We've created energy, an archive that will be with us forever – but what will we do with it? And how will we build on it?

To these eyes, Derry-Londonderry's maximum potential has yet to be fulfilled. An improved transport system, despite the reopening of the train line, is still called for. Some events have been better publicised than others. And I retain my belief that we can more than take a leaf from Our Friends In The East and encourage the many musicians who play in Belfast to also play in Derry-Londonderry. Venues such as the Nerve Centre, Masons and Sandinos are more than capable of regularly exhibiting the best in popular music to all of us. The Jazz Festival is proof of this.

Furthermore, we all know that Ebrington's Venue will not last beyond the end of the year. So how will we go about continuing its success? While a permanent arts venue of similar size would be ideal, it's also a pipedream in today's economic climate.

The multitude of memories and monuments, including the Peace Bridge and the new Guildhall, have been major steps in the right direction, but more needs to be done if the pleasures of the City Of Culture are to become truly substantial. Derry-Londonderry is full of dreams and possibilities, but not everyone has been or will be fortunate enough to experience these.

As convincingly illustrated in the above video, City Of Culture 2013 has given something to believe in, creating and highlighting the undeniable talent, sense of life and potential the city possesses. Whether we choose to create anything lasting with this potential is what will ultimately define us both as a city and as a cultural hub.

We have made history... and we have history still to make.

* * * * *

HIGHLIGHTS OF THE CULTURAL YEAR SO FAR...

FILM

Jump: A highly effective, unpredictable mood piece where the "buzz" and "excitement" surrounding our protagonists, (a suitably world-weary Nichola Burley and an excellent Martin McCann) isn't enough to drown out the lifelessness and soullessness they clearly feel.

Good Vibrations: Glenn Leyburn & Lisa Barros D'Sa's chronicle of Belfast punk Godfather Terri Hooley. A well-paced, consistently riveting and at times bitingly funny tale about chasing one's aspirations in extremely turbulent times, featuring a powerhouse performance from Richard Dormer in the lead role.

THEATRE

Annie: The extraordinary talented leads and ensemble of the Londonderry Musical Society sing, speak, shout and scene-steal their way to success in Deigh Reid's highly enjoyable take on a classic show.

Re-Energize: Playwright Gary Mitchell, director Conall Morrison and their cast play with and subvert a cliché-ridden scenario, creating a "rock play" worthy of its title. This one's less about the band and more about the bond.

LOCAL MUSICIANS

Excluding the more established favourites like Paddy Nash, Neil Hannon, Paul Casey, Bronagh Gallagher and The Undertones, here are a series of local singers/artists who have really caught the eye so far this year.

Honorable mentions: Intermission, John Deery And The Heads, We Are Aerials.

GRIM: Otherwise known as Laurence McDaid, his brand of quiet punk reminds one of an angst-ridden Ian Curtis and the surreal humour of Thomas Truax. It's not for everyone, but it makes a strong impression.

Our Krypton Son: Composed, dependable and accomplished musicianship, a deceptively sullen demeanour masking the versatile and sometimes upbeat blend of rock, jazz, country and pop that Chris McConaghy, aka Our Krypton Son, is capable of.

Little Bear: They got their big chance at Other Voices Derry and grabbed it with both hands. Grounded, eclectic, easy to listen to and positively entertaining, Steven McCool and his no-longer-so-little bears are deservedly set to continue making waves on the local music scene and beyond.

The Clameens: Pete Doherty's a fan! And when you listen to single "She's Got My Heart" and watch them perform live, it's easy to see why. Their catchy riffs and inspiring on stage chemistry remind you of Franz Ferdinand in their pre-fame prime, and is tailor made for both clubs and arenas.

SOAK: Both charming and surprising in her graceful simplicity, sixteen-year-old Bridie Monds-Watson has already proven herself capable of providing something for everyone; pleasant, delicate, clear & unforced vocals, remarkably mature guitar playing, and a close-to-home, easy-going sense of humour.

Best Boy Grip: Not just an accomplished pianist, Eoin O'Callaghan is also a terrific songwriter, repeatedly matching catchy and/or entrancing melodies to risque, devious and intelligent lyrics worthy of one of my (and surely one of his) idols, Neil Hannon.

Mairead Carlin: Her vocals and stage presence are impossible to forget. The words that I used to describe her performance at Sons & Daughters still stand today: "Pitch perfect... sweet without being syrupy... powerful without being overbearing... optimistic... humble... genuinely spellbinding. Honestly, what is not to like?"

EVENTS

Music City: The Sky Orchestra: The sight and sound of six balloons on my doorstep that Saturday morning was truly something to behold.

North By Northwest Festival: One of two festivals (the other being The Big Weekend) that gave Derry-Londonderry's music lovers something to believe in again, providing a vast array of local folk, indie and rock talent for all to enjoy.

Home Grown: Three of the city's best known musicians - Paddy Nash, Bronagh Gallagher and Paul Casey - kicked off the City Of Culture year in style. What better way to crowd and energize the Millennium Forum than with a concert that both brings people together and embraces local roots?

Columba Canticles: This quietly uplifting, exquisite and melodic narrative concoction will probably be best remembered for the version of Jerusalem that preceded it; but the stellar musicianship on show at St. Columb's Cathedral that night should not be forgotten either.

Other Voices: Opening Night featured SOAK and Neil Hannon; Night Two featured Bronagh Gallagher and Marina & The Diamonds; and the Final Night featured Little Bear and Beth Orton. What an interesting, eclectic and sometimes exciting mixture of talent we were treated to at the Glassworks. We were lucky to have it.

Macklemore (One Big Weekend): This was awesome. Need I say more?

At Sixes And Sevens: A lively musical chronicle of Derry-Londonderry's past, present and future that offered excitement and elegance in equal measure.

Elvis Costello: The English crooner rolled back the years with a seasoned, slick and stylish Derry debut. Who will forget "She"?

Neil Cowley (City Of Derry Jazz & Big Band Festival): The UK City Of Culture's musician in residence, and his band, provided a thunderous euphony of contrasting jazz styles. Cowley may not quite have the musical reputation of Billy Joel, Bruce Hornsby and Sir Elton John, to name but a few, but his tempo, commitment and humility surely exceed them all.

Pink Martini: Again, sheer awesomeness; and it wasn't just the cinematic and televisual musical storytelling of China Forbes and her ensemble. It was the sight of everyone wanting to conga in the aisles of the Millennium Forum.

Sons And Daughters: Much more than a concert; a stylish celebration of musical talent both young and old, an artistic exhibition for both the Maiden City and Ebrington's Venue on both the national and international stage.

Political Mother: Original, innovative, multi-layered, consistently kinetic and, above all, exciting, Hofesh Shechter's piece drew upon a series of cultures, instruments, voices, movements and beats to create a music and dance spectacle worthy of the status Derry-Londonderry has achieved. It was an audio-visual treat, a series of stunning sights and talented artists that were impossible to look away from, where numerous cultures intersperse with one another to create a sometimes haphazard but overall unforgettable kaleidoscope. In other words, it was the perfect fit for these turbulent times, and it set a standard for entertainment in this cultural year that has yet to be equalled at the time of writing.

Si's Sights And Sounds chats to one of the latest singing-songwriting sensations to emerge from the Inishowen peninsula

At nineteen years of age, Greencastle-based singer songwriter Laura Bonner, better known as Laura B, is causing a bit of a stir in the North West music scene.

Since she started singing, playing guitar and gigging in 2010, Laura B has performed at the Greencastle Regatta, the Clipper Festival and the North By North West festival alongside rising stars Little Bear. Recently she performed in Dublin, firstly at Whelans Front Bar on Monday July 9, and then on Saturday July 13, for the Tumbleweed Sessions in The Cobblestone.

Her growing popularity has led to her featuring on local radio stations and websites, and she has also been ranked as No. 1 in the regional singer-songwriter chart on ReverbNation.

Today, she continues to sing and play on both sides of the border, mainly in Moville and Derry.

We chat to Laura B about her musical past, present and future.

Tell us how Laura B came to be.

It sort of started when I was fifteen, maybe sixteen, at my sister's 21st birthday. Her friend had left his guitar for a little sing song for when they came home from a nightclub. My friend Melissa and I borrowed it, and we messed about in my room, making up silly songs.

At the time I was terrible. I had never played a guitar before in my life. But I enjoyed it, and that's what motivated me to teach myself how to play properly. When my transition year came around, I really started to get more involved with music. I hadn't studied music in school before then, so I knew little about the theory or anything like that. But I always loved to sing, and in transition year, my guitar playing was much improved, so I was able to back my singing.

I was very shy and never played in front of anyone. Until, that is, I joined a music organisation called "The Up Scene" which was set up to help young musicians gain confidence and play gigs. They held a couple of showcases in the summer of 2010, and that set me on the right track. But it was mainly in December of last year that I began to write my own songs and become more of a performer.

Did you always have a strong ear for music? Was it something that passed down through the family, or was it just picked up naturally?

Well, my grandmother used to always make up little poems and sing to my family and me when we were younger, so her talents may have passed down to me!

After transition year, I took up music for my Leaving Cert, and worked really hard, as everyone else in my class had done music the whole way through school and had gotten guitar, piano and singing lessons. I, on the other hand, had not gotten any lessons, so I just taught myself. My music teacher, Miss McGrory, did say to me on a few occasions that she couldn't believe how quickly I was excelling in the subject in such a short space of time. To her, it was like a hidden natural talent. And I guess it did come naturally; it just made sense to me. I enjoyed it, I liked learning about it, and I got an A in my Leaving Cert which I'm still really proud of today.

Has living in the Inishowen peninsula inspired you, and why?

In a way. It's a nice and peaceful place to live, a good place for reflection, which helps when I write my songs. However, my music and lyrics are more emotionally driven than from a designated place.

What other artists/musicians do you draw inspiration from, and why is this so?

My main musical influences would be Heathers, Hudson Taylor, The Lumineers, Maroon 5, Mumford & Sons and SOAK. I enjoy their lyrics and the general feel of their songs, taking inspiration from their guitar playing and vocal techniques.

How would you describe your music and lyrics?

Deep, personal, solemn and witty, with ironically upbeat vocals and guitar.

You've made quite a name for yourself in Derry, the City Of Culture 2013. Tell us more...

Well, through being in Derry a lot this year, due to university, I’ve met a lot of talented singer-songwriters like Susie Blue and Jilly St John. I've learned a lot about all the different music opportunities and festivals that Northern Ireland has to offer, thanks to them. Hence I've begun to put myself out there and get known to a wider audience. It was also great to be part of the North By North West festival.

What does the future hold for Laura B?

I plan to record and release my EP this year, get my music out to larger audiences and play at bigger events and festivals. You can keep updated through my band page.

This is a slightly amended version of an interview which originally appeared in the Inish Times on July 9, 2013. Photos courtesy of GC Photographics.

This provocative and amusing, if truncated, chronicle of Derry-Londonderry leaves one wanting more

Arriving hot on the heels of the game of contrasts that was At Sixes And Sevens, Derry-Londonderry and Donegal's AnNua Theatre Company's production of Derry 24 plays a similarly-themed game, a historical and contemporary chronicle of the lives, loves and losses in the Maiden City. But Derry 24 is more than just musical; it's also mystical, mysterious and not-so-mysterious, all at once. It is a series of disparate threads weaved around an effective central narrative, creating a rather provocative and amusing tapestry of sight and sound.

Much of the "action", if you can call it that, is gently soundtracked by Lorna McLaughlin of The Henry Girls, Martin Coyle of Balkan Alien Sound, Gay McIntyre's saxophone and the nimble feet of dancer Bridget Madden. Unusually for a Playhouse Theatre performance, the seating centres itself around the theatre floor in a successful bid to bring us closer to what's going on, so that we really feel the atmosphere of the piece. The atmosphere is enhanced through the clever use of various visuals on numerous LCD screens at the back of the theatre, in addition to orchestrated explosions of off-stage sound, be they suitable sound effects or past and present radio broadcasts. This is one of those rare productions where you hear about the Troubles and Dr. Leah Totton's Apprentice triumph on the same night; local adversity and local triumph in equal measure.

The focus mainly rests on a young, haunted woman played by Geraldine Foy. She speaks bitterly and expressively of a lost love, clinging on to memories of memories as if it's her only way of living. It's an extremely well worn theme, but Foy and the AnNua group work very hard to express it in a novel fashion. A shopping sequence, in which Foy's character is standing alongside a Venus De Milo mannequin, is particularly telling; perhaps the absence of her beau has deprived her of the drive to do anything but dwell on the past. Hence, she might as well have no arms. It's sequences like these that illustrate just how thin the line between visions and reality become when one is grieving.

Elsewhere, a monk played by Paul Moore puts his own unique spin on the Saint Padraig story, telling the history of the patron saint through the ages. When he speaks about the historical Padraig trying to sell sandals in ancient times, in a sandal-dominated market, many present-day entrepreneurs will relate to the risk or folly of starting up a business in a hugely competitive market. Moore is in fine form here, delivering his lines in a nicely satirical manner: when he says "I have a cunning plan!" the reference and relevance to a certain classic comedy couldn't be clearer. And just when we think he has no more left to say, he makes a reference to a more-recently-historical Padraig having to move to England to be successful, a sad reminder that this island isn't big enough for everyone's commercial needs.

That's far from all Derry 24 has to say. We also watch, among numerous things, a funny puppet show featuring a young Swedish girl who learns about the history of our city; a cleaner who preaches about overcoming prejudice on the road to hopeful equality; our cultural promise and prospects, epitomised by Bridget Madden's dancing silhouette and Gay McIntyre's favourite instrument; a baker and a mother chatting about what Derry-Londonderry was and what it is today; a nostalgic conversation by the seaside in which a crumbling sandcastle also represents the vulnerable foundations of today's society; and an ingenious moment where crassness can become culture when you least expect it, featuring even more marvellously rhythmic dancing from Madden. The feast for the eyes and brains that AnNua provide here cannot be underestimated.

And yet, the running length - a mere seventy minutes - and message-heavy approach rob Derry 24 of raw humanity that would make it an even better production. Too many actors, especially Amanda Doherty, are underused, and too much perhaps rests on Geraldine Foy's hugely admirable shoulders. Things move so fast that it would probably take one more viewing, or quite a bit of after show contemplation, to make the most of things.

Nevertheless, over-shooting the mark is far preferable to under-shooting it, and AnNua's programme announcement that they will continue to build on this story throughout 2013 makes you eager to see what they will come up with next.

Eagle's Rock rocks out for the last time in an atmosphere awash with excitement and emotion

The first thing I notice as I march up to the entrance of the final Glasgowbury is how much bigger the festival site is than when I first came, as a mere reveller, in 2008; already, I hear a punk band playing in a tent worthy of Glastonbury. No one is picking up hot food yet either; it's far too warm and far too early for that sort of thing.

What it's not too early for is some thumping music to shake us from our slumbers, and Sean Breslin and the Clameens provide it on the Small But Massive stage. Little more needs to be said about Pete Doherty's new favourite band, apart from that they seem much more comfortable on the big stage than I thought. Unlike Franz Ferdinand, or worse still, the Kaiser Chiefs, the Clameens successfully hark back to the mid-noughties without needing an intimate setting, a capacity crowd, or both, to thrive. Wisely drawing inspiration from the stage presence of The Libertines and the tantalising song-writing of Alex Turner, they please a sparse crowd and leave one keen to hear more from them.

Slowly but surely, they are finding a loyal following. Furlo, on the other hand, already have one, and are keen to go out with a bang on the G Sessions Stage. That they do – to an extent. It's still too soon to get lost in heartfelt sing-alongs and wild frolicking, but the talent of Jonny Everett and company is never in question, and their experimental electric funk lends itself nicely to the tent's acoustics.

Wild is what the aptly named Wyldling are, or at least try to be. Lead singer Jilly St John, a mistress of many poses, throws herself around the stage a la Natalie Bassingthwaighte (of Rogue Traders and Neighbours fame) while everyone attempts to take it all in. The party atmosphere St John and the band go far doesn't quite come off, but one does warm to her image, that of the tattooed rock goddess with a heart of gold. Clearly, St John is frustrated by the heat, which prevents her from being as perpetually crazy on stage as she wants to be, but strangely, this works to her advantage, giving the band's performance a cool and sensual edge. We could have a gothic Silhouette in the making here.

What is it about punk pop kids The Wonder Villains– siblings Eimear & Kieran Coyle, Cheylene Murphy and Ryan McGroarty – that grabs one's attention? It's quite simple, really. They're exuberant, fearless, synchronic and appreciative of their audience, with a multi-dimensional retro sound - 1980s, to be more precise - that excites the young and revitalizes nostalgists. They are a community group who know their strengths and play to them, giving each band member their moment in the spotlight, and connecting with the G Sessions Stage crowd in a uniquely friendly manner.

Next stop, the Eagle's Rock Stage, for Dungannon-based Alana Henderson and her brand of folky "string pop". With the help of a cello, and backing musicians including Silhouette's Connor Burnside, she uses the intimate setting to display what classical instruments can bring to the popular music arena. Most impressive of all, perhaps, is her voice; laced with a wailing bitterness that glides over the surface of our soul, it channels the likes of Tori Amos and Joni Mitchell, drawing the watchers in. The title track from her "Wax And Wane" EP, with its James Bond-ian opening riff and groovy rhythm, is most promising indeed.

Back at the Small But Massive stage, The Dead Presidents prove themselves to be everything Buena Vista Social Club should have been at the Venue last month; energising, funky, soulful and exciting. There hasn't been a louder cheer from revellers all day. It’s asking a lot for Runaway GO! to match up to this, but Fiona O'Kane's Sharleen Spiteri look, coupled with catchy tunes and passionate stage dynamics that hark back to Ash and The Killers at their finest, provide a great foreground to the lovely view of the Sperrins on this boiling day.

The Emerald Armada inspire excessive clapping with their high tempo rodeo folk at the Eagle's Rock Stage, before Pocket Billiards attempt to create a haven for lovers of ska and brass music at the G Sessions Stage. At first, the party atmosphere is genuinely electrifying, and their sound – Supergrass meets Madness, to these ears – positively charges the tent. Unfortunately, the tunes get rather samey and exhausting after a while; while there's a spark there, it's not really enough to warrant a fifty-minute set. Someone should have told them to cool it a little.

The superb keyboard playing of John McCullough and the even better guitar solos of Paul Casey are a neat tonic before the last shows of the day, and indeed, Glasgowbury as we know it. Rams' Pocket Radio will sign off at the G Sessions Stage, while The Answer will bring the final, FINAL curtain down at the Small But Massive stage. Either set is clearly going to be infused with energy, nostalgia and regret.

Being in the mood for the more intimate option, this writer chooses Rams' Pocket Radio at the G Sessions Stage. A series of sound delays frustrate everyone, to the point where Rams' leading man Pete McCauley asks the crowd if they’re still "with" him. Luckily, they are – and indeed, how could they not be, after a typically powerhouse performance of "Dieter Rams Has Got The Pocket Radios"? – but tonight McCauley and his ensemble will raise their standards to another level altogether, in a style worthy of the occasion.

If the craic isn't as "mighty" as McCauley wants it to be, it is certainly warm. The highlight of the set comes from the songs "with feeling": "Love Is A Bitter Thing" and "1 + 2", among them. All pack an emotional wallop that fills both songs and atmosphere with life and resonance. With a mini-orchestra of cello, trumpet, guitar and additional drums – yes, McCauley is both a drummer and pianist – behind him, as opposed to the couple of guitars and drums we once associated with backing Rams, McCauley feels arguably more isolated, but emerges stronger as both a musician and a personality. It is a thunderous, rich and emotive sound, a cut above the blandness of popular comparatives Keane.

It's also interesting to contrast McCauley's most recent approach to his music with that of his former band mate Shauna Tohill, aka Silhouette. I said in a previous review that McCauley and Tohill had a "near telepathic understanding", and when watching the Rams here, you can see that McCauley has rubbed off on Tohill. Silhouette may be funkier, more intimate and higher tempo than the Rams, but their music has the same positively energising effect on audiences and listeners. From one once-promising three piece act, two potential musical powerhouses have emerged. Once small, now massive.

And that, if anything, should be the ultimate legacy of Glasgowbury.

A festival that has both nurtured up and comers and solidified establishing talents in the eyes of countless people. An annual "had to be there" moment, a festival that will be much missed from the musical calendar, but has left us with countless memories and a potentially strong cultural legacy.

Farewell, Eagle's Rock. We've been extremely lucky to have you.

The London-based folk musicians still have a soft spot for Derry-Londonderry

Last month, Zoe Nicol (above, left) and Rosie Jones (above, right), aka Worry Dolls, were declared the winners of the "Are You Legenderry?" competition, beating nearly a hundred other performers to win a slot at Derry-Londonderry's Music City! celebrations on June 21.

Described by UK City Of Culture musician in residence Neil Cowley as "humorous and charming" folk songwriters with "sublime harmonies", the London-based duo have also released their first EP and featured at the Glastonbury festival this year.

We catch up with the duo in the aftermath of their recent successes.

How was your first visit to Northern Ireland, especially the City Of Culture 2013? What stood out for you most?

Rosie Jones: It was such a great experience. We used to live in Liverpool, and there were many similarities between there and Derry for me. The people were so welcoming and friendly; that always seems to be the case up north! Being there during the City Of Culture festivities made it even better, because the city was alive with music. There were buskers on every street corner. We absolutely love Ireland, because wherever you are, you're immersed in folk music.

It was only a shame that our stay was so brief; we saw the inside of the airport for nearly as long as the city itself!

So you'll definitely be coming back to Ireland again then?

Zoe Nicol: Yes! I am coming back for a holiday this year. Though really, I have always wanted to go back to Ireland since going there as a bump in my mum's stomach.

Jones: We hope so! We are planning to tour the UK in 2014, but we may have to set time aside for a separate Irish tour, so we can spend more time there.

Nicol: If anyone out there has ideas for venues we can play in, or just wants to be involved in our Irish tour, please get in touch!

How does it feel to have released your first EP and to have landed four shows at the Glastonbury festival?

Jones: Glastonbury was crazy. We played a show nearly every day and had such a great response. On the Sunday, we played a set after not having showered for a week! It's actually one of my favourite places in the whole world... I go every year.

Nicol: We're so happy to have the EP out there. It's fantastic to finally have a physical piece of work to represent us, and to top that off, we got to perform Glasto four times this year. We were hoping for at least one gig, so that was pretty good going.

How would you best describe your music and lyrics?

Nicol: Indie, folk and acoustic, with a comic twist.

Jones: We've been called both "quirky" and "witch-folk", which I quite like. Personally, I would say harmony-led quirky folk.

How do you feel you've developed as performers since you've started playing?

Nicol: We were already performers in our own right before Worry Dolls came to be. So I think the most interesting thing about us is how we have developed as a duo and grown as an act. Since the beginning of Worry Dolls, we have introduced new instruments to our set up, like banjo and mandolin, so I think that has added a lot to our overall sound and development.

Jones: Since I bought the stomp box, we've written more upbeat, foot stomping tunes. Our instruments definitely inspire us. In the last couple of years, our harmonies have become much tighter. Sometimes, we even feel like we can read each other's thoughts onstage; we often both make the same mistake at the same time!

In closing, what can post-Glastonbury audiences and beyond expect from Worry Dolls?

Jones: More noise. Bigger, louder things, and new songs.

Nicol: We are in the process of mixing our next EP. It's a very exciting project indeed, with lots of collaborations from good indie folk friends in London. We're planning to tour in 2014, record a debut album, and, of course, come back to Ireland on tour!

Check out the offical Worry Dolls site at www.worrydollsmusic.com.

Legendary composer, producer and guitarist Nile Rodgers comes, sees and culturally conquers an excitable Derry-Londonderry audience

There is a massive commotion amidst the stifling humidity in a thankfully thunder-free Ebrington Square before the doors to The Venue 2013 have even opened. It is hoped that the only thunder we hear will be from the sound of The Venue’s floor by concert's end; and, judging by CHIC’s reputation, such hopes do not go unfounded. We are, after all, talking about the brainchild of Nile Rodgers and the late Bernard Edwards, a collective who have influenced, inspired and worked with numerous successful artists, in addition to delighting audiences with commercially successful disco tunes for nearly four decades.

To have Rodgers here tonight, amidst the hot pants, multi-coloured clothing, afros and excitability of the people of Derry-Londonderry and beyond, is a privilege indeed; and the layer upon layer of jungle harmony that we hear from Celtronic's Gareth Stewart, designed to warm us up for the main event, makes the atmosphere even more entrancing.

Then, it happens. The DJ's music dies down. The restless crowd lift their arms and begin to clap. Nile Rodgers and CHIC enter the Venue stage to deafening applause. And what an extremely humble performer Rodgers looks! Dressed in a white suit with a guitar by his side, this dreadlocked "soul brother", now sixty, seems too chilled out to be the near-masterful producer and composer that he is. But this is one of those occasions where you should, as the saying goes, never judge an book by its cover.

For energy will be key here. Two songs into the set, and everyone is dancing and raising their hands in the air, clapping spiritedly and almost certainly rhythmically to the sight and sound of Rodgers' guitar, his brass, key and drum backing band, and female vocalists Kim Davis-Jones and Folami Ankoanda-Thompson. One of Rodgers' guitar solos during these early numbers suggest that he is going to adhere to the strengths of the Venue's recent Elvis Costello concert and raise them up a notch; hooray for "old" rockers everywhere, indeed.

Things then take a turn, from flat out retro disco to a nostalgic journey through the ages. A series of songs produced and/or co-written by Rodgers for artists as diverse as Diana Ross, Sister Sledge, David Bowie, INXS and Madonna get the CHIC-over. Whether they play "We Are Family", "Like A Virgin", "Let’s Dance" or "Original Sin", the high-tempo groove remains constant, reenergizing the familiar, enervating clichés, transcending the predictable and creating a dynamic vibe. "Sometimes", says Rodgers, "playing these songs makes us feel old, but then we remember how young we were when we wrote these, and I hope we make you feel young." That he does, turning the floor of the Venue into an extremely funky dance hall.

All those recognisable riffs, bobbing quiffs, guitar solos, soulful vocals and big brassy instrumentals would be enough for any memorable concert, but Rodgers will soon raise things to another level. As the end of the night approaches, he is clearly basking in the feel good factor that both him and the Derry-Londonderry audience now have, and marks it by inviting a series of locals to join CHIC on stage!

The sight of numerous citizens, including members of the Culture Crew – the "Derry Dancers", as he calls them – grooving along to the best performance of "Good Times" one can hope for is a perfect City Of Culture moment. It's truly LegenDerry dancing; something the Venue has certainly been full of tonight as a whole.

And while the performance itself doesn't quite have the novelty of Political Mother or the variance of Sons & Daughters, it possesses an energy, atmosphere and excitement that many of the entertainments this year have not been able to match. CHIC have come, seen and left Derry-Londonderry ready to culturally conquer the remainder of this seminal year on as high a note as possible.

A guide to Derry-Londonderry lingo gets revised and updated to coincide with the 2013 celebrations. Read and hear all about it

The Wile Big Derry Phrasebook is a rib-tickling cross-section of the many colourful words, sayings and expressions to be heard in the Derry area, all captured lovingly by social historian, musician, songwriter and proud Derryman Seamus McConnell, who sadly passed away in 2010.

A new revised and updated edition is to be launched this week as "the definitive compilation of the wit and wisdom of generations of Derry wans" in the City Of Culture, presented in a lavishly illustrated book for all to share and enjoy.

In the original foreword to the last edition, Seamus McConnell wrote:

"About 1981, because of my general interest in the history of Derry and its people, I got the idea to jot down some of the very humorous sayings unique to our city.

"As time went on, I began to take seriously the idea of compiling some sort of 'dictionary' of Derry words and phrases, with the vague hope of having it published some day. So around 1984, I got down to some serious research: eavesdropping on people's conversations, skulking around crowded places like supermarkets and football matches, notebook at the ready, picking up phrases here and there (wakes turned out to be a rich source of material). Talk of the Town, first published in 1989, was the end result of all that nosing around.

"For a while I believed that I had published the cream of local expressions, but I kept hearing more and more. One day I was sitting in a local café and I couldn't help but overhear two ladies 'discussing' a neighbour's little boy and because it sounded so funny I decided there and then that a second book was a must. So The Folly Up was published in November 1990.

"That had to be it, I thought at the time. But there was still so much out there, I couldn't help writing it all down. Collecting local patois had become almost an obsession. Every time I left the house, I found myself seeking out more. I wanted to produce a definitive 'Derry Dictionary' – The Wile Big Derry Phrasebook – the complete collection of Derry’s very own words, phrases and linguistic peculiarities. Except, of course, for those held back for the special millennium edition in 2000."

Here's additional input from McConnell's brother, Hugo, and daughter, Rachael:

"...Or that's what we believe Seamus would be saying if he was still with us. He never did lose that obsession of eariwiggin' on people's conversations. And if he'd been around to welcome the inaugural City of Culture 2013, along with the rest of us Derry wans, he would have considered it his civic duty to ensure that all visitors to our great city would have an updated, ultimate (plus one), definitive (perhaps) Wile Big Derry Phrasebook. 'Cos that's just the sorta person Seamus wuz.

"A naturally modest and quiet man (well, in comparison to the rest of the McConnells anyway), few are aware of the wealth of talent possessed by Mr Seamus McConnell. Not only was Seamus a prolific writer (much of his work never seen by the public eye), he was first and foremost a very gifted musician and featured heavily on the music scene in Ireland and beyond, from Showbands to Blues, from Skiffle to Jazz, from the 1950s through to the 1980s.

"Slowing down in his, dare we say it, more mature years, concentrating more on recording, arranging and producing, he amassed an extensive back catalogue of songs and instrumentals across all genres, again most of which has never been heard by the public ear. Indeed, one of his secret ambitions was to have some of his music used in soundtracks on the big screen. He left behind a formidable legacy, a lifetime's work.

"We feel that this legacy should be preserved and made available for all to enjoy. So with this in mind a website, www.seamusmcconnell.com, archiving Seamus's work, is planned. In the meantime, however, a small sample of his music and both published and non-published works can be enjoyed at www.springtowncamp.com.

"We sincerely hope you enjoy this book and it gives you as much laughter reading it as Seamus had writing it and as we had updating it. On behalf of Seamus, we would like to thank the people of Derry who were the main contributors to this book.

"So put a bush in thon gap, get a wee sope in yur han' and enjoy!"

The Wile Big Derry Phrasebook - City Of Culture Edition will be launched on Thursday August 1 at 7 pm in Derry-Londonderry's Central Library. Published by Guildhall Press, the book is available from all good bookshops, and direct, from www.ghpress.com.

I sense that the high standard that Edgar Wright, Nick Frost and Simon Pegg attained with their cult near-masterworks Shaun Of The Dead and Hot Fuzz - subversive, amusing and poignant postmodernity at their finest - means that not everyone will be satisfied by The World's End. And almost predictably, it's a pale shadow of what fans of the trio will be hoping for. A strong opening, defined by typically snappy direction, a clever soundtrack and a really good set-up, slowly dissolves into a tired rehash of elements from past glories (slacker protagonists and/or cynical love interest battle the Big Other (s) in a remote town) wasting both a great cast and a great premise. Sure, the film raises thoughtful issues about the struggle to grow up, freedom vs. family and how technologically dependent our social society has become, but they're submerged in a rather average comedy that's closer to the awful Paul than anything Wright, Frost and Pegg managed at their peak. A disappointingly lukewarm conclusion to what could have been a brilliant trilogy.

Two Irishmen wrote and sang about everyone's favourite caffeinated beverage, and it's become an online phenomenon. Si's Sights And Sounds finds out more about a "Tea Song" and its creators

It all began with two guys writing funny, yet overly honest, songs about everyday things.

Everyday things, that is, like "sexually frustrated old men and homosexual frogs" according to Kevin O'Brien of the McGetigans. Now, the Dublin troupe consists of six men doing "pretty much the same thing."

But did O'Brien and his mates – John Sweeney (aka "Sweeney Joe"), Barry O'Dwyer, Brian Murphy and Brendan Lawless – always want to be a comedy band? "A lot of our songs are considered comedy, but they never start that way", laughs O'Brien. "We just can't take ourselves seriously for more than five seconds!"

The McGetigans – named after a character in a play that O'Brien had been writing in his spare time – admit to have taken a leaf from the great Irish musicians who have played a good percentage of funny songs, like The Dubliners, The Clancy Brothers and Christy Moore, to name but a few. But they've never been strongly influenced by any mainstream comedians; to them, the "normal Irish people" who they see every day are far funnier than just about anyone on television. To put it even more succinctly, their just hoping to carry on an old Irish tradition – that of having "a bit of craic" with their music.

Not that it's been all milk and honey for the group. Two years ago, the release of their first EP pretty much fell flat.

"We sent CDs and badges out to every radio station we could think of, but we got no reply from any of them", O'Brien says. “They mustn't have liked it. I'd like to say that we have learned valuable lessons since then, but in truth, we are still as clueless as ever.

"We fared better with the release of our last single, though, 'Son Love Your Neighbour'. It sparked a bit more interest, and led to us playing live on the John Murray Show."

I then ask O'Brien the big question: what on earth possessed them to write a song about tea?

"We love tea. And 'The Tea Song' wrote itself. The phrase 'I wouldn't say no to a cup of tea' was banging around in my head for ages. Before long, I'd put a verse together, and then I sat down with John and brainstormed the rest of the tune out. On the day the song was fully ready, we recorded ourselves playing it on my mother’s couch."

And thus was born a YouTube cult phenomenon, amassing nearly 20,000 hits to this day. But what has impressed O'Brien and Sweeney most of all is how varied the interest has been to their video.

They have received messages from "all walks of life". People have used the song on their own videos. Tea lovers have told the band that the song has become "the soundtrack to their lives". The song was re-recorded for the good cause of promoting a not-for-profit Kenyan tea company, Ajiri Tea. Most surprisingly of all, the people in charge of an English Language course in Germany asked if they could use "The Tea Song" as a learning tool... and of course, the band agreed.

But what do O'Brien and Sweeney sing about when they're not extolling the benefits of tea?

"Many of our non tea related songs are about John’s sexual exploits", O'Brien says. "You know, like failed conquests, erectile dysfunction and things women should not do with their fingers. We've also written songs about dancing with no pants on, female biology and moral advice."

With that in mind, what can we expect from The McGetigans in the future?

"We have this great communal dream of living in a huge mansion filled with hot groupies and a kettle in every room, where we can drink as much as we like and never grow old. A swimming pool and tennis court would be nice too. We've no idea how this dream could be realized, but it keeps us going!"

Of course, immortality has a price; but one senses that the McGetigans have already achieved some sort of cultural and musical immortality by singing about everyone's – well, almost everyone's – favourite drink. And who knows how far they can truly go?

The Tea Song will be launched as a single at the Cobblestone Bar in Dublin on August 3. For more information about The McGetigans, visit their official site at www.mcgetigans.com or check them out on Facebook. All photos courtesy of The McGetigans.

In a special piece, Si's Sights And Sounds selects ten of our favourite North West musicians or groups from the cultural year so far, and gives them the poetic treatment

With Derry-Londonderry still basking in the buzz of a hugely successful Fleadh Cheoil celebration, and the Walled City Tattoo to come, we thought we'd take time out to write a little poem about some of the best musical talents we have heard in both the city and its vicinity this year. Enjoy!

As the clock of the Guildhall gives out its last strike

The centre of Wyldling steps up to the mike.

Jilly St John is her name, so they say,

A talented musician, yes, come what may.

Who is that girl and guitar that I see?

It's the Greencastle star that they call Laura B!

A whizz with her voice, and her eyes and the strings.

And those are just some of her favourite things.

Now this next guy I speak of, he's nobody's fool

He's the Big "Bear" in town, aka Steven McCool.

Him and his band, and their drums and their whistles

Will wipe away every bad trace of the bristles.

Amongst Derry songsters he sits high above

Composing his tunes about sunlight and love.

He has quite remarkable skill with guitar.

This Our Krypton Son? Oh, we know he'll go far.

They've Got Your Heart and they'll soon grab your soul

Their music will leave you a satisfied whole.

Their name? The Clameens, and oh no, I'm not lyin'...

Let's hear it for Sean, Hayden, Ethan and Ryan!

She sings of wee things by the side of the sea...

Now whose is that delicate voice? It's Bridie.

Just lose yourself to her fine music within,

Before long you'll find that you're SOAK-ed to the skin.

Cheylene and Ryan, and Eimear and Kieran

Each one of them is a Wonder-ous Villain.

The sound will surround you, the punk will excite

And you'll dance long into the small hours of the night.

He's Derry's Piano Man, gives a good show

And his wife is a class singer also, you know.

His mates call him Eoin and he'll make the odd quip

Who else can we mean but our own Best Boy Grip.

She sang her heart out for our sons and our daughters

Her tones led us on towards much calmer waters.

Her name is Mairead, she's an angelic voice

And she's filled us with hope, life, dreams, magic and choice.

But I cannot leave you without naming another,

He's sung about dogs, horses, cricket and Mother,

His tunes are stuck right in our musical canon.

Ladies and gents, I give you...

Neil Hannon!

Si’s Sights And Sounds looks back on a selection of highlights from a truly magical week in Derry-Londonderry

What was already known as the largest festival of song and dance in Ireland took on an even larger quality in Northern Ireland's second city and the cultural capital of the North West.

An estimated 430,000 people were stunned, conquered and delighted by the sights, sounds and general "craic" that washed around them in what was a truly glorious communal and musical experience.

We at Si's Sights And Sounds were fortunate enough to be writing about and taking pictures of several of the week's events, and we are happy to present to you our written and pictorial chronicle of them: The Fleadh Cheoil na hÉireann Diary.

MONDAY, AUGUST 12

There is already quite a commotion in St. Columb's Cathedral when a photo of the Cor Gaelach singers of Donaghmore, Co. Tyrone is taken. Sitting patiently beside the numerous spotlights that give their youthful faces an even more effervescent glow, they seem to be beaming with pride in response to the goodwill already drummed up in the city from Sunday’s opening ceremony. What we will hear tonight promises to be more mute than the likes of Sontas but no less chorally rich.

Being not so well versed in the Irish language, I must rely on the tune to carry me through Evensong, compositions intended to highlight both the differences and the unity between Ireland and Scotland. A series of well balanced tunes lend themselves kindly to the mostly delicate, sparsely triumphant and ethereal vocals of the Cor Gaelach singers, with some neat, angelic and entrancing soprano solos raising their talents to the fore.

Somewhat less kind are the acoustics in the church toward the Psalm Singers of the Isle Of Lewis, Scotland. When this quartet do not perform solos, they sound like a series of braying bagpipes screaming for each other’s attention, although once they adjust to the confines of their surroundings, they become much more assured. And there is something about their Highlandish nature that grows on you, particularly their diction. Best of all on the night, however, is “Hi, Bill!”, Padraig O’Mianain’s warm, rippling and rather jolly accordion-led tribute to a certain former US President, his impact on the Derry community, and his contribution to the peace process.

TUESDAY, AUGUST 13

Sorrowful sung soliloquies, accomplished musicians, unexpected calypsos, feisty compassion, spilled water bottles (yes), a charismatic host and the maxim that "talent runs in the family"– all of the aforementioned are vital components in Imrice, aka Songs Of Emigration. The enriching and inspiring possibilities of folk music are delightfully explored in this suitably intimate concert at Derry’s Playhouse Theatre. Guitarist Barry Kerr, and later, the sister duo of Triona and Mairead Ni Dhomnall, offer an easy-to-enjoy and contemplative brand of solid professionalism and wistful warbling, with Kerr coming across as a particularly skilled guitarist.

To the eyes, Co Kerry's Pauline Scanlan may appear as sweet and timid as a little bird, but she soars through her numbers like an eagle; she radiates extreme confidence and conviction through a musically bouncy but lyrically dark set list, creating a very lively spin on Mary Black. The bottle of water belonging to Damien O'Kane– once of Flook – may have unwelcomely exploded in his back pocket, but the only explosion the audience are thinking about by the end of his set is the enthralling rhythm and depth of the sound provided by O'Kane, bodhran player John-Joe Kelly, guitarist Ed Boyd and bassist Duncan Lyall. Lyall, it turns out, has flown from Edmonton to Calgary to New York to Belfast for this twenty-minute selection of good humour, happy harmonies and merry melodies, and displays not one touch of tiredness or nervousness. That's dedication for you.

Most beautiful of all are the airy Celtic tones, sometimes more mournful than at other times, of the evening's last performer, Mary– sister of Cara – Dillon. At gig's conclusion I remark to her famous sibling that hearing Mary on the Playhouse stage gave me a feeling akin to hearing Cara's debut album for the first time almost a decade ago; and that's high praise indeed.

WEDNESDAY, AUGUST 14

The first concert to be screened for TG4 and Fleadh Live, Highlands and Islands, begins with the arrival of The Campbells Of Greepe, who hail from the Isle Of Skye. The Guildhall is bathed in a purple glow as the Campbells sing excitedly, relying on their voices to carry a steady beat, which makes for addictive listening even with the tiniest instrumental accompaniment. So when back up strengthens thanks to piano and woodwind accompaniment, and later the dancing of John Sikorski, it's rather special. The knowing winks of the Campbells' four female singers and extremely in sync vocals tie in with their easy-going adaptability to the sometimes markedly abrupt tempo and spirit changes.

Award-winning Scottish duo Marit Fait and Rona Wilkie are what you would call a totally different kettle of fish. Fait's singing and bazouki playing is loaded with aggression, or so it seems. Once we discover that her first tune is a lullaby warning a baby to "beware of a bad man who will come and put (the child) in a bag and throw (him or her) in a river", everything becomes clear, and we can happily reflect on the sly amusement the tune offers. Equally amusing, though not as angry, are Wilkie’s lullaby about farm animals and her ode to the town of Kilmartin. Fait and Wilkie are an expressive and versatile pair that you can’t really take your eyes away from; and you don’t want to either. When the Campbells join the duo for the mournful finale of "Down To The River To Pray", we share the sadness they clearly feel at the end of the performance.

THURSDAY, AUGUST 15

A line-up of North American acts greet our eyes for Across The Atlantic at the Guildhall. First up to the bat is skilled fiddle player Liz Carroll, accompanied by Sean Og Graham's acoustic guitar and Trevor Hutchinson's double bass. On her first visit to Fleadh Cheoil in many years, the award-winning American-born violinist dazzles us with her levels of concentration, thoroughness, and chemistry with those both on and off the stage. If first song "Drumlasies" scores high marks for comprehensiveness, her second song is more notable for its quiet beauty, its smooth, flowing sentiment. The series of traditional Irish reels that follow cement her place in both the hearts and minds of the Guildhall audience, the city's populace looking as lost in the clapping of hands and the tapping of feet as Carroll and her accompanists are with their instruments. You do believe that the Guildhall floor would transform itself into a nineteenth century dance hall, were it possible.

Less string-dependent and far more vocal is Massachusetts' own Tim Eriksen, whose Ralph Stanley-esque voice echoes around the new old hall in a haunting, macabre, yet strangely resonant fashion. Hard though it is to "go nuts", as he says, at the sound of the rather morbid "O Death", one can only admire the skill of his violin and later banjo playing, and the strength of his voice. It is left for Eriksen's jokes to provide the levity in this short set: "I saw three signs when I came here: Derry, Doire and Londonderry. I asked a girl in (the hotel) reception, what was the proper way to pronounce this place, and she said 'Travelodge'!" Such humour no doubt endears him to the locals, but the important thing about this set is not so much Eriksen's pronounciation as his enunciation, which is crystal clear.

The talent really speaks for itself in the case of Nova Scotia musicians Troy MacGillivray, Andrea Beaton and Matt McIsaac, who literally take our breath away with their interlocking instrumentals. While the sound is not quite as rich as Liz Carroll's, it need not be; these driven and seemingly fearless musicians take to whatever instrument they pick up, be it fiddle, keyboard, bagpipes or whistle, like a duck to water, and, aided immeasurably by Beaton's Irish dancing skills, startlingly and harmoniously intertwine in a near glorious concoction. This fast-paced set is all about expecting the unexpected, encouraging even the normally calm Fleadh Live presenter Sile Ni Bhraonain to move to the music along with the audience.

Those unfortunate enough not to make the Cara Dillon concert taking place inside the city walls tonight – or those who are simply looking for something different – have a little treat waiting for them in the one-time venue for the Other Voices spectacular. Several hundred people, or so it seems, are packed into the Glassworks for Hidden Fermanagh, in an atmosphere more worthy of a lively pub than a music hall.

Led expertly by Cathal McConnell and featuring Brenda McCann, Pat & Valerie McManus, Francis Rasdale and Annette Owens, among others, the performance consists mainly of cockle-warming, high tempo reels, with a few reflective solos thrown in for strong measure. Rosie Stewart's low, worn and vulnerable tones evoke memories of the struggle to move on, while Catherine Nugent impresses with her expressiveness, particularly on "I Ran With An Irishman". Most melancholy and definitely most memorable of all is the sight of McConnell leading everyone – musicians and audience combined – in a performance of Cathie Ryan's "So Here's To You". It's the perfect finale to a fine evening in the company of musicians with such a friendly presence. Except it isn't – the amusing “The Second Hand Trousers I Bought In Belcoo” is still to follow, leaving us to make our way into the packed city centre streets in good humour...

SUNDAY, AUGUST 18

A series of stage performers – and, most notably, the Fidget Feet company's "Fire Birds" show – bring the curtain down on what has been an absolutely unreal week in Derry-Londonderry. And there's no better words I can use to sum it up than in this poem I’ve written…

I stood in the corner of Ebrington Square
While a jaw-dropping show took place up in the air.
We'd rarely seen anything quite so neat
As the awesome sight of the Fidget Feet.
Like Political Mother, but not quite as long
The singers and dancers put not one foot wrong
In an artistic, exciting feast for the eyes
That lit up the dark in the wet and black skies.
And my camera and notebook dropped right by my side
As I found myself totally filled up with pride.
The folk of the city were alive with belief.
This had warmed through their hearts and removed all their grief.
And if there’s one thing we’d say, oh yes, say right out loud:
It would be "Well done Derry - you did the Fleadh proud."

While Derry-Londonderry was getting Fleadh-d out, a little festival was taking place on the outskirts of Limavady. Si's Sights And Sounds went to check it out

If Glasgowbury established itself as a lower key Oxegen during its thirteen-year-tenure – that is to say, mainly about, if not all about, the bands – Limavady's Stendhal Festival, situated on Ballymully Cottage Farm, is like a lower key Electric Picnic. The wide open fields, the larger tents, the mazy surroundings, the flashing lights, the arty sculptures, and, above all, the sense that you really could be in a mud bath in the middle of nowhere, were there to be a serious downpour. It’s like being in another world. But then again, isn't that what all great festivals should be like?

Fresh from thrilling the Legenderry crowd with Bronagh Gallagher at the Fleadh, Paul Casey, Derry's Mr. Consistency, joins Marty Barr to raise spirits at the Karma Valley Stage on Friday evening with his affable rock. Tunes like "I Do", "Something's Gotta Give" and "The Last Goodbye" fill the tent with applause and atmosphere, even if sing alongs are muted and dancing feet are hard to spot.

Back at the Main Stage, Matt Backer (above) and Mick Wilson (of 10CC) come across as a less cheesy take on Jon Bon Jovi with echoes of Steely Dan; not entirely my cup of tea, but the Main Stage audience are clearly impressed. The duo are a prelude to a troubadour most notable for his outlandish dreadlocks and vaudevillian stage presence, a guy who guarantees you a good time no matter who he's accompanied by - Duke Special, aka Peter Wilson. Along with regular "partners in crime" Ben Castle and Temperance Society "Chip" Bailey, he offers a neat reminder of how and why his fan base grew to love his music to begin with. Highlights of this set include a particularly melancholy "No Cover Up", the inappropriately upbeat "Diggin' An Early Grave", the show-stopping, Neil Hannon-penned "Wanda, Darling Of The Jockey Club" and the popular "Portrait". Even a hoarse rendition of "Freewheel" and an unfortunate power cut mid set can’t hold his energy back.

Fans of "The Duke" will also be aware that he's taken to performing a rather moving piano cover of "Love Will Tear Us Apart" at just about every gig he plays. It is unfortunate that no one told Stevie Martin, aka Rainy Boy Sleep (below), that Americana and the Joy Division classic don't quite go together. It's not that Martin's cover is bad; it just pales in comparison to Duke's. But his is an entirely different kind of voice. Channelling the mellowness of Stuart Murdoch and the projection of Elbow's Guy Garvey, with a nasal twinge, Martin and his acoustic guitar create a series of innovative, on-the-spot and self-recorded backing beats which mix smoothly with chorally strong ballads in a hugely likable performance.

Little Bear have no problem in the likability stakes – the only way has been up for Steven McCool and his band since Other Voices Derry, and their solid performance here consolidates their status as one of the top new musical arrivals of 2013. If a middling crowd diminishes their impact somewhat – to these eyes, Little Bear thrive on atmosphere - the likes of "Night Dries Like Ink", "Second In Line", "I'd Let You Win" and "Take Me Back Together" are still warmly received, boding well for their forthcoming Electric Picnic show. One hopes they can avoid the kind of stagnancy that subsumed Franz Ferdinand and The Killers and really push on from here.

A most interesting little journey to the Air Stage is greeted by the sight of, if you believe Steve Huey of allmusic.com, "one of Britain's most influential dancehall toasters". And we are definitely warmed up by the high tempo educational humour of Wolverhampton-born reggae artist Macka B. Yes, I said "educational humour" - in an hour, he references the music of James Bond and the legend of Bob Marley, in addition to telling us a thing or two about the wonders of women, the dangers of fast food and the benefits of a vegan diet. Given more time, you sense he'd re-iterate his own History Of The World to us in dancehall, dub step fashion; and we would happily hear it.

The rather delayed arrival of Dubliner Paddy Casey and his slick accompanist Fiona Melady leads to squeals of excitement at the Main Stage, and he responds with a series of enrapturing riffs and relatable rock tunes that help to establish a real party atmosphere. As good as Casey’s original material is, however, his covers of Nina Simone’s "Sinnerman" and "I Wanna Be Like You" get the best reception. I guess most North Westerners love being reminded of the Jazz Festival – and you can’t really blame them, can you?

Jazz, rock and just about any other genre you could think of then get the avant-garde treatment as one of Derry-Londonderry's favourite sons, Neil Hannon, brings down the curtain on Stendhal 2013 in typically eclectic fashion. Even if the sound is not the kindest to him and he can't always remember the words to his songs, the all round good spirit present in the punters, his fan base and Hannon himself carries things through to the finish. As the triumphant final chords of "A Drinking Song" die out, everybody knows they've had a good time... all the more reason to return here for more in 2014.

Derry-Londonderry's oldest building is the perfect setting for a uniquely historical musical event

All flutes unite for the Relief Of Derry Symphony. From left to right: David Wray (William King Memorial Flute Band), Janice Channing (Churchill Flute Band), Doreen Curran (vocal soloist), Marcas O'Murchu (trad flute), Mel Orriss (arranger and conductor), Sarah Murphy (Festive Flutes), Tim Cairns (Hamilton Flute Band).

More than two decades ago, a composer named Shaun Davey was commissioned to write a symphony marking the 300th anniversary of The Siege Of Derry in 1689. Fast forward to the present day, and St. Columb's Cathedral, Derry-Londonderry's oldest building, is reuniting the Hamilton, Churchill and William King Memorial Flute Bands for the first time in three years. They are to play a specially arranged reprise of Davey's composition, along with vocalist Doreen Curran, acclaimed trad flute player Marcas O'Murchu, and the classical Festive Flutes quartet.

The Relief Of Derry Symphony is a community project. Two years in the making, eighty flutes (ten different types), percussion and vocals have interlinked in an effort to shine a spotlight on both the flute as an instrument and the flute bands in the city. Generations of professional and amateur flautists of all ages have practiced an extremely varied repertoire on a weekly basis, setting us up for a momentous occasion.

Fluorescent light beams either side of the stage greet the eyes of the St. Columb's Cathedral audience, calming the orchestra in front of the numerous television cameras present. The lights are an even more reassuring presence for stand-in conductor Simon Mowbray; regular conductor Winston Robinson is, alas, unwell. But Robinson would surely be encouraged by what he sees early on, a grand but neatly understated take on the "Holyrood March" from the Churchill and Hamilton bands. The flutes take a back seat to the reverberating backing instruments at this stage, but they will have their proverbial moment in the spotlight before we know it.

The two bands continue their warm up with another march, "Action Front", whose foot-tapping beat makes up for any minor deficiencies at this stage. With the audience now fully warmed up themselves, there is no better time for the Festive Flutes – Joss Campbell, Elizabeth Walker, Sarah Murphy and Sandi Skipper – to make their presence felt, and they do so with Elgar's Enigma Variations. The delicate harmonies and sweet synchronicity in their performance create a blissful ambience similar to the sound of a rippling brook on a dry spring day in the park. The spectacular "Nimrod", a smoothly mournful build to an epic boom that softly dies out, is the perfect lead in for the main event.

We hear four movements, conducted by Mowbray and Mel Orriss, and arranged by Orriss. A foreboding opening worthy of the masterful "Fanfare For The Common Man" leads into a sound much richer and far more assured than anything that has preceded it so far. A motif then plays to signify the storytelling in the piece – the two Kings, James II and William of Orange, preparing for battle at the Siege Of Derry – before the remainder of the piece raises the tale of the battle itself and its aftermath. Cue strong percussion, a deceptively meek flute solo, and the loud sound of bells, whistles and drums repeatedly intertwining with one another at the most appropriate moments. It is a musical tale of calm before the storm, then calm again, unique for its various moods – apprehensive, triumphant, mournful and funereal at once. Special mention should be reserved for the detachment of pipes and snare drums heard from the church galley at the end of the second movement – their presence and sound is both vibrant and inspiring. Ditto Doreen Curran and her alto voice on "The White Horse" during the third movement, even if she has to fight a little to make herself heard amidst the woodwinds that wash around her.

The final movement, a mixture of Irish airs, thorough harmonies and a conquering coda, initially seems tonally muddled, but on reflection this is essential to the conclusion of the tale being told; chaotic, violent surroundings dissolving into relief, an eventual hope that peace and goodwill lies just around the corner. The history of the city and its present day closeness have been thoroughly and intricately presented in an eye-opening composition for a popular woodwind instrument. If we ever needed confirmation of the sheer melodic beauty that the flute possesses, we've found it here.

(Photo courtesy of the Maiden City Festival 2013.)

In an interesting turn of events, Si's Sights And Sounds found themselves backstage for Derry-Londonderry's first ever Tattoo. Our writer recounts his experience as a performer of the Londonderry Musical Society on opening night

What is the first thing one thinks about when he or she hears the word "tattoo", apart from the body marks that seemingly have little to do with the spectacle that will lie before our eyes tonight?

Well, would you believe, the Tattoo as we know it is actually derived from "Doe den tap toe" or "tap toe", which is Dutch for "last orders" or, more literally, "close the beer tap". Adopted by the British Army during the War Of The Austrian Succession as a means of signalling the closure of taverns at night, Tap-toe, later Tattoo, eventually came to symbolise not just the last duty call of the day, but also a form of ceremonial entertainment performed by musicians in the military.

This brings us to the Tattoo we all know and love... The Royal Edinburgh Military Tattoo, which emerged from "Something About A Soldier" at the Ross Bandstand in Princes Street Gardens in 1949 into a sell-out extravaganza attracting over 200,000 viewers worldwide. It's an integral part of both the Edinburgh Festival and the international cultural calendar - rows and rows of seated spectators seemingly reaching to the sky, lost in a delightful medley of worldwide culture amidst the epic background of Edinburgh Castle, The Royal Mile and the beautiful city itself. To many, something of that magnitude in Derry-Londonderry this year was more than a recommendation. It was a necessity.

And, largely through the efforts of one James Kee, it has become a reality.

I had always wanted to go to the Edinburgh Tattoo; now I'm set to experience the next best thing. Except I won't; at least not quite as I imagine. As a performer, a member of the Londonderry Musical Society (LMS) choir, I will find myself the equivalent of backstage almost all night as the citizens of our Maiden City and beyond soak themselves in the Celtic song and dance that surrounds them, a one-night cross cultural celebration to be repeated four times over.

Prior to arriving at Ebrington Square and the Venue, I deem a "private" warm up necessary, and so do up the final button up on my shirt before a thorough vocal workout with the best of - what else? - The Divine Comedy. It turns out that the pitch could be better on my rendition of "Tonight We Fly". No matter, perhaps tonight, we will be flying on stage in front of all those people.

Something's still not quite right as I stroll down St. Columbs' Road towards the now famous square. The buzz is brilliant, as it has been with all City Of Culture events, but the humidity's getting to me. Rehearsing in icy temperatures last night convinced me to put on an extra layer today. It's a decision I already feel I may come to regret.

I haven't worn a flower of any kind since my brother's wedding last year, and the flower we all must wear tonight - a red one - is as tough to put on as you'd expect. I'm almost as annoyed that I missed the BBC report on the Tattoo - still, knowing that you and your society are part of a significant event in the local news is always a major confidence boost.

If good ol' Auntie's interest wasn't enough of a reminder of what's at stake, the headline act for the night, the Top Secret Drum Corps from Basel, are battering away in the centre of the Venue as we change backstage in the giant tent. These no-longer-so-top-secret drummers - they're world famous, with a recent anniversary tour taking them to Tattoos in Quebec, Moscow's Red Square and Berlin - are tossing drumsticks in the air, testing rhythms, and above all, really enjoying themselves.

Ah, enjoying oneself. The very thing that our vice-chair Margaret McPhillips is advising every single one of us to do after our final practice rendition of the pieces we'll sing tonight. The words "cool" and "calm" seem invented for this remarkable young woman, considering the pressure that is surely on her shoulders, let alone ours.

We haven't much time to ponder our surroundings, as I'm called outside to practice the male harmonic parts of "Danny Boy" with the rest of the male choir members. Sacrilege though it may sound like, I've never fully grasped this Derry air... maybe it'll just come to me on stage? It'll have to... before we know it, it's time to march outside and get ready to enter the limelight.

The very moment I walk through the Venue's front doors and out into the open, it hits me - humidity and light has metamorphosed into cold and dark in what seems like a matter of minutes. My wisdom in wearing that extra layer has been vindicated. And... what's this I hear as I stroll down to the Square with my colleagues? It is the sound of everything I have heard, on both TV and YouTube, that has relayed the Edinburgh Tattoo to my ears. Although the vibrant movement of the dance troupe - co- choreographed by Georgina Kee, daughter of James - and the sight of all the bands are invisible to my eye, the "wow" factor remains.

And why shouldn't it? The sound alone creates the images of bagpipes, dancers, even guitars in the brain; a visionary spectacle one can only look forward to seeing, a stunning fusion of Irish-Scots culture with a bit of popular music tossed in the mix... which includes the theme tune from, of all films, Police Academy. Opinion is divided on the puerile comedy in the film series, but few doubt that Robert Folk's composition is a classic.

Corniness nearly gets the better of me, as I am overcome by the temptation to salute the musicians around me backstage. Although, with military marching songs being played, and the Hymn To The Fallen from Saving Private Ryan in my head, can you really blame me? John Williams' tune is, after all, the song we're about to sing. Despite the enormity and importance of the occasion, everyone in the LMS is very composed. Some take a chance to sit down and catch their breath, others gossip amongst themselves... we know all we have to do is get up on that stage and perform, and then we can look forward to returning for the finale.

I feel that when performing the more classical pieces in a choir, the focus must be on getting them exactly right - concentration, thoroughness, pitch and level of sound must be paramount. I think it is safe to say that everything goes according to plan as Hymn To The Fallen, conducted and arranged by Noel Barr and also featuring the St. Joseph's Brass Band as well as the LMS, starts and ends quicker than expected. The weather is dry. St. Columb's Cathedral and the Peace Bridge are lit up in the distance. The Square, which represents more of an arena tonight, is bathed in red and violet light. The stands are packed. But I've barely time to take it all in as my concentration must be on Barr and Barr only. We do have our music to fall back on for the song, but light is strangely absent on stage, making it very, very tough to read it. It matters not, though... it looks like everyone is pleased with the performance, and now we've some time to kill before the finale!

Some immediately turn their attention to the crepes stand, some hop to check out the merchandise. Personally, I sort of regret that I'm not able to stay behind on stage and enjoy the firecracker that is Zara Montgomery... seconds after Hymn To The Fallen dies out, she launches into a version of Proud Mary that couldn't be more of a contrast to the song that preceded it. At least I can take in the sound of it all while enjoying the company of friends.

For the uninitiated, Montgomery is one of the multi-talented Sontas, a ten-piece group of singers, dancers and musicians that have earned a reputation around Ireland for turning Irish-Scots trad on its head. They have infused bagpipes, keyboards, guitars, dancing and vocals with contemporary spirit and remarkable energy levels. In many ways, their success is the epitome of this Tattoo - if the pipe bands, military drummers, choral singers and Irish dancers and so on provide the bedrock, Sontas provide the vitality. And despite the wonderful athleticism of the Afrikan Warriors, and the extreme professionalism of the Hardly Top Secret Drum Corps, it is Sontas' vocalists that are to linger longest with me at the end of the night.

Montgomery and fellow Sontas singer Karol Harvey do more than bring poignancy and energy to John Farnham's "You're The Voice" and Stephen Foster's "Hard Times Come Again No More" respectively. They take the songs and make them their own; Montgomery has the poise, presence and precision of a human dynamo, and Harvey's take on Stephen Foster goes as far as bringing a tear to the eye.

Better still, the LMS has the privilege of participating in "You're The Voice" - even if we only get to sing the chorus. By this stage, it is more about "letting yourself go" in the atmosphere, losing yourself in what by that stage amounts to a certified level of hysteria. A steady rainfall is forgotten about as Culture Company CEO Shona McCarthy acknowledges me, delighted at how well the evening has gone so far. She's right to be optimistic - I suspect the evening has gone so well that there's some kind of "magic" in our voices. What other reason can you offer for the rain stopping the very moment Montgomery begins to sing?

Our full concentration is called for again sooner rather than later as the opening chords of "Danny Boy" are heard. No excuses now - we must sing it without the words. And sing it we do. What I find most remarkable about singing with accompaniment - singers, instruments or both - is that your colleagues play an invaluable part in removing all fear of forgetting the music or lyrics. Their voices and presence guide you along, allowing you to coast swiftly and smoothly throughout your performance without feeling a twinge of intimidation from the potentially spectacular sights around you.

As "Auld Lang Syne", fireworks, and a touching voiceover signal the end to the evening, we can rest well in the knowledge that we have played a major part in Derry-Londonderry history. Like the first ever UK City Of Culture, the first ever performance of the Walled City Tattoo has set a high benchmark for future Tattoos, and future Cultured Cities, too. The "great sea change" that Seamus Heaney hoped for no longer seems a pipedream.

The Walled City Tattoo continues until Saturday August 31. Tickets are still available for Saturday's performance. For more information, visit www.walledcitytattoo.com.

Two episodes into its second series, the local drama is transcending its clichés and giving student life a welcomely realistic, if inconsistent, bent

We've all been there. We have imagined the shift from school to university as seamless, a journey from enjoyable but somewhat restrictive years into a fantasy world of respectability, freedom, new friends and possible partners. We believe that now we've earned our college years, growing up, settling down and getting our dream job will surely lie ahead. The joyous life that we've created for ourselves surely awaits.

Then, reality bites. The "party atmosphere" you probably dreamed about turns out to be extremely disruptive. Not everyone – especially your new housemates – respects you. Breaking ties with the friends you made in school is harder to do than you anticipated. Your new friend, or even your seemingly perfect "other", isn't the person you thought she or he was. And you’re no longer in the protective shadow of family, spoon fed work or watchful teachers. You're your own man or woman – and it's going to be a struggle to survive.

As its second series gets underway, BBC Northern Ireland's 6Degrees has found its voice as a pretty convincing chronicle of the above; a gloomier take on student life in Belfast, occasional glimmers of light at the end of what, contrary to expectations, are several long, dark and twisted tunnels. And this is a very good thing indeed. Because let’s face it, The Inbetweeners Movie, love it though we do, is a virtual exercise in dreamy wish fulfillment by the time it reaches its closing credits.

If no one would ever call 6Degrees original – the numerous plotlines and characterizations are rather well worn – its bleak, and more importantly human, outlook, reflected in both the cast and camerawork, is a refreshing change from the potentially damaging over-idealism that can exist in "young people's" productions.

Not one of our six protagonists can truly claim to be happy. Take Jess (Georgia Maguire, impressive); forced to relocate from England in series one, she is torn between her current boyfriend and the charms of the GAA team's coach. Sandie (Jayne Wisener, now fully grown into her role) must maintain her sanity and act as a mother hen to the group in an oasis of chaos, while attempting to figure out what she wants for herself.

The no-nonsense Eva (Derry-Londonderry's own Jamie-Lee O'Donnell) has gotten herself involved in a feud with a seasoned neighbour from across the road, and we know not if Eva's "hard as nails" approach to life is genuine or just a defense mechanism.

Elsewhere, Leech (Ryan McParland) is trying to not-very-convincingly re-invent himself as a ladies' man after splitting from his girlfriend. Danny (Niall Wright) is obsessed with both his work and his love life, perhaps overly so. And GAA captain Conor (Cillian O’Sullivan) has been forced out of the closet in circumstances beyond his control.

Admirably, the writers of 6Degrees have unveiled and intertwined these numerous plot threads into a likable and compelling tapestry. If the narrative is arguably too ambitious and riddled with occasionally unsubtle uses of pop songs along with the odd cringe-worthy line or two, 6Degrees should be commended for at least aiming to do something a little different as far as young people's television goes, whilst managing to retain a strong sense of local identity.

Even when the producers err along the way, they are at least erring in trying to do the right thing. The scenario and characters are believable, and there are more than enough shots of Northern Ireland's capital city and pop cultural references to keep teenagers happy. The challenge for 6Degrees, now, is to show us if and how it can blossom to its obvious potential.

Check out the official website for 6Degrees at www.6degreesni.com.

PERFORMANCE REVIEW: Martin Messier

The Canadian composer conducts his "sewing machine orchestra" as part of the Music City celebrations in Derry-Londonderry

MUSIC REVIEW: Buena Vista Social Club

What starts as a delicious piece of Cuban cuisine ends up as Pink Martini lite

MUSIC REVIEW: Elvis Costello

The London-born crooner embraces his roots with a seasoned, slick and stylish debut show in Derry-Londonderry

FILM REVIEW: Man Of Steel

In the latest comic book "reboot", Zack Snyder goes for dark grandeur, but ends up with something closer to Michael Bay

MUSIC REVIEW: At Sixes And Sevens

A lively chronicle of Derry-Londonderry's past, present and future gives the audience plenty to be happy about in the city's Guildhall

We Have Made History... And We Have History Still To Make

Si's Sights And Sounds reflects on Derry-Londonderry 2013 to date, hailing the city's achievements, identifying areas for improvement and looking to the future. Featuring Highlights Of The Cultural Year So Far

Laura B Makes Her Mark

Si's Sights And Sounds chats to one of the latest singing-songwriting sensations to emerge from the Inishowen peninsula

PERFORMANCE REVIEW: Derry 24

This provocative and amusing, if truncated, chronicle of Derry-Londonderry leaves one wanting more

FESTIVAL REVIEW: Glasgowbury 2013

Eagle's Rock rocks out for the last time in an atmosphere awash with excitement and emotion

Worry Dolls Are Still LegenDerry

The London-based folk musicians still have a soft spot for Derry-Londonderry

MUSIC REVIEW: CHIC

Legendary composer, producer and guitarist Nile Rodgers comes, sees and culturally conquers an excitable Derry-Londonderry audience

The Wile Big Derry Phrasebook - City Of Culture Edition

A guide to Derry-Londonderry lingo gets revised and updated to coincide with the 2013 celebrations. Read and hear all about it

CAPSULE REVIEW: The World's End

The McGetigans To A "Tea"

Two Irishmen wrote and sang about everyone's favourite caffeinated beverage, and it's become an online phenomenon. Si's Sights And Sounds finds out more about a "Tea Song" and its creators

Nine Sons And Daughters Of Derry-Londonderry... And An Inishowener

In a special piece, Si's Sights And Sounds selects ten of our favourite North West musicians or groups from the cultural year so far, and gives them the poetic treatment

The Fleadh Cheoil na hÉireann Diary 2013

Si’s Sights And Sounds looks back on a selection of highlights from a truly magical week in Derry-Londonderry

MUSIC REVIEW: Stendhal 2013

While Derry-Londonderry was getting Fleadh-d out, a little festival was taking place on the outskirts of Limavady. Si's Sights And Sounds went to check it out

MUSIC REVIEW: The Relief Of Derry Symphony

Derry-Londonderry's oldest building is the perfect setting for a uniquely historical musical event

The Walled City Tattoo 2013: A Performer's Point Of View

In an interesting turn of events, Si's Sights And Sounds found themselves backstage for Derry-Londonderry's first ever Tattoo. Our writer recounts his experience as a performer of the Londonderry Musical Society on opening night

TV REVIEW: 6Degrees

Two episodes into its second series, the local drama is transcending its clichés and giving student life a welcomely realistic, if inconsistent, bent