It's only taken me 50 years to work this one out

Onstage chemistry. Powerful stuff.

This time last week, I made very heavy weather of the day. Physically, I was completely shattered; my head, on the other hand, was spinning furiously. I really wasn't up to much.

And what was this about? Simple. I'd sung in a bloody brilliant choral concert at Birmingham Town Hall, the previous day. Now, singing in a choir is really no big deal; people do this all the time. I've been singing for maybe five years with the same group of very nice people; it's thoroughly enjoyable. 

But because I participated in last week's shindig – a proper, pomp and circumstance, full-on, full scale Classical affair, with loads of voices and an orchestra - I now have a much better idea of the things that make live musicians, or for that matter any live performer, tick. It's taken me this long to work it out; odd, considering I've been going to gigs for over fifty years.  

It was twenty years ago today; Notorious are coming out to play

Hooked on Classics, look what you started... 

Eh? What? Read on...

I don't write an awful lot about Classical music here. Recently, I haven't written an awful lot at all; that's about to change.

I've just finished up a show for Brum Radio, one of those shows where we talk and my guest picks the music. This time, I sneaked a few other clips in; couldn't resist it. I've posted a link at the bottom of this post. Do listen: I'm proud of this one, noisy though it is at times - we recorded in my car.

There's a solid but unexpected Birmingham connection. Who would have thought that Brummie Louis Clark, who handled most of the early arrangements for the Electric Light Orchestra, would have inadvertently inspired a girl who went on to be one of the most influential women in Birmingham music? This happened though his successful (but excruciating) Hooked On Classics series. Go figure.

Call Me Unique: Better make time... to grab that chance.

The big break? How and why? Let me count the ways...

At MoFo a few years back; she's on the big stage at MoJazz this year

Let's say you're a struggling artist. You cover a lot of music areas. You have a following of sorts. Being good and distinctive (they don't always go hand in hand), putting yourself out there, gives you a chance of building a small local following. But just to get to there means effort, sweat and often a bit of heartbreak.

But how do you push on from there? How do you get to that point where the buzz is big enough to bring the big media operators sniffing around?

Mostly, the web muddies the waters while appearing to offer clarity. But sometimes you catch a break.

Curtis Little: goodbye to one of the greats

On Friday, I went to another funeral. 

It was to send the great Curtis Little on his way, and to celebrate his life. 

When I landed in Birmingham, two generations ago, I was taken, very early, by Slender Loris, a band that mixed complex intelligent songs with delivery, from Curtis, that was punchy as hell. 

As a DJ, I couldn't believe my luck: a voice like that? On my patch?

Whip-thin, all sinew and muscle, not a spare ounce on his frame, Curtis was the epitome of a front man. He had a voice to die for, rich, soulful, deep, and he really knew how to use it. Where it came from, God only knows. But he was a joy to watch. 

Arts Funding: it's DIFFERENT in Germany. A chat with Simon Halsey, CBSO Chorus Master

I first met Simon Halsey 32 years ago, when he joined the team at the City of Birmingham Symphony Orchestra. Now, he is the CBSO Chorus Master. This summer, he leads an extravagant public participation project, Crowd Out, taking over Millennium Point with a thousand, count 'em, a thousand, singers. I'm in: there's a blog post to come on this later this year. 

Halsey at TEDx, Berlin 2010. Photo Sebastian Gabsch

At rehearsals, he flipped from English to German with ease, the result of working in Berlin for the past 15 years. He is ferociously busy, about to swap the Berlin Philharmonic Chorus, Germany's top choir, for the London Symphony equivalent. His job is Chorus Master, but in reality it's a lot more. He has deep knowledge of funding, and, critically, of how organisations can survive and prosper, re-inventing themselves, burrowing deep into in the communities they serve, with humility and practical intent. 

So, he is an interesting and political man, as well as a committed musician with a unique perspective.UK Arts and Media institutions could do well to study how the CBSO, with his help, has played its hand over the past three decades. There are profound lessons to learn.