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BEGIN:VEVENT
DTSTART;TZID=UTC:20261017T193000
DTEND;TZID=UTC:20261017T193000
DTSTAMP:20260912T082715Z
CREATED:20260912T082642Z
LAST-MODIFIED:20260912T082715Z
UID:3567-1792265400-1792265400@matthewbarley.com
SUMMARY:October 17th\, UK\, London\, Sinfonia Smith Square
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/october-17th-uk-london-sinfonia-smith-square/
LOCATION:Sinfonia Smith Square\, London\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261105T220000
DTEND;TZID=UTC:20261105T220000
DTSTAMP:20260928T152335Z
CREATED:20260912T083021Z
LAST-MODIFIED:20260928T152335Z
UID:3566-1793916000-1793916000@matthewbarley.com
SUMMARY:November 5th\, Holland\, Amsterdam\, Cello Bienalle\, Bimhuis
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/november-5th-holland-amsterdam-cello-bienalle-bimhuis/
LOCATION:Bimhuis\, Amsterdam\, Netherlands
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20261106T193000
DTEND;TZID=UTC:20261106T193000
DTSTAMP:20260928T151939Z
CREATED:20260912T083500Z
LAST-MODIFIED:20260928T151939Z
UID:3575-1793993400-1793993400@matthewbarley.com
SUMMARY:November 6th UK\, Bristol St George’s
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/november-6th-uk-bristol-st-georges/
LOCATION:St George’s Hall\, Bristol\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261126
DTEND;VALUE=DATE:20261127
DTSTAMP:20260928T152043Z
CREATED:20260912T083710Z
LAST-MODIFIED:20260928T152043Z
UID:3577-1795651200-1795737599@matthewbarley.com
SUMMARY:November 26th\, Belgium\, Ghent\, Musiekcentrum
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/november-26th-belgium-ghent-musiekcentrum/
LOCATION:Musiekcentrum\, Ghent\, Belgium
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20270131T193000
DTEND;TZID=UTC:20270131T193000
DTSTAMP:20260912T083827Z
CREATED:20260912T083754Z
LAST-MODIFIED:20260912T083827Z
UID:3580-1801423800-1801423800@matthewbarley.com
SUMMARY:January 31st\, UK\, London\, Sinfonia Smith Square
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/january-31st-uk-london-sinfonia-smith-square/
LOCATION:Sinfonia Smith Square\, London\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270221
DTEND;VALUE=DATE:20270222
DTSTAMP:20260928T152143Z
CREATED:20260912T084027Z
LAST-MODIFIED:20260928T152143Z
UID:3583-1803168000-1803254399@matthewbarley.com
SUMMARY:February 21st\, Brugge Concertgebouw
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/february-21st-brugge-concertgebouw/
LOCATION:Concertgebouw\, Brugge\, Belgium
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270310
DTEND;VALUE=DATE:20270311
DTSTAMP:20260912T085753Z
CREATED:20260912T084333Z
LAST-MODIFIED:20260912T085753Z
UID:3586-1804636800-1804723199@matthewbarley.com
SUMMARY:March 10th New Zealand\, Palmerston North
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-10th-new-zealand-palmerston-north/
LOCATION:Palmerston North\, Palmerston North\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270311
DTEND;VALUE=DATE:20270312
DTSTAMP:20260912T085827Z
CREATED:20260912T084428Z
LAST-MODIFIED:20260912T085827Z
UID:3589-1804723200-1804809599@matthewbarley.com
SUMMARY:March 11th New Zealand\, Wellington
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-11th-new-zealand-wellington/
LOCATION:Wellington\, Michael Fowler Centre\, 111 Wakefield Street\, Wellington 6011\, New Zealand\, Wellington\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270313
DTEND;VALUE=DATE:20270314
DTSTAMP:20260912T085850Z
CREATED:20260912T084503Z
LAST-MODIFIED:20260912T085850Z
UID:3592-1804896000-1804982399@matthewbarley.com
SUMMARY:March 13th New Zealand\, Christchurch
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-13th-new-zealand-christchurch/
LOCATION:Christchurch\, The Piano\, 156 Armagh Street\, Christchurch 8011\, New Zealand\, Christchurch\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270314
DTEND;VALUE=DATE:20270315
DTSTAMP:20260912T085915Z
CREATED:20260912T084541Z
LAST-MODIFIED:20260912T085915Z
UID:3594-1804982400-1805068799@matthewbarley.com
SUMMARY:March 14th New Zealand\, Auckland
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-14th-new-zealand-auckland/
LOCATION:Auckland\, Auckland Town Hall\, Queen Street\, Auckland 1010\, New Zealand\, Auckland\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270315
DTEND;VALUE=DATE:20270316
DTSTAMP:20260912T085942Z
CREATED:20260912T084612Z
LAST-MODIFIED:20260912T085942Z
UID:3596-1805068800-1805155199@matthewbarley.com
SUMMARY:March 15th New Zealand\, Hamilton
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-15th-new-zealand-hamilton/
LOCATION:Hamilton\, Hamilton\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270317
DTEND;VALUE=DATE:20270318
DTSTAMP:20260912T090010Z
CREATED:20260912T084645Z
LAST-MODIFIED:20260912T090010Z
UID:3598-1805241600-1805327999@matthewbarley.com
SUMMARY:March 17th New Zealand\, Invercargill
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-17th-new-zealand-invercargill/
LOCATION:Invercargill\, Invercargill\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270318
DTEND;VALUE=DATE:20270319
DTSTAMP:20260912T085723Z
CREATED:20260912T084714Z
LAST-MODIFIED:20260912T085723Z
UID:3600-1805328000-1805414399@matthewbarley.com
SUMMARY:March 18th New Zealand\, Dunedin
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/march-18th-new-zealand-dunedin/
LOCATION:Dunedin\, Dunedin\, New Zealand
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270410
DTEND;VALUE=DATE:20270411
DTSTAMP:20260912T084854Z
CREATED:20260912T084804Z
LAST-MODIFIED:20260912T084854Z
UID:3602-1807315200-1807401599@matthewbarley.com
SUMMARY:April 10th\, UK\, Nottingham\, Djanogly Recital Hall
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/april-10th-uk-nottingham-djanogly-recital-hall/
LOCATION:Djanogly Recital Hall\, Nottingham\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270412
DTEND;VALUE=DATE:20270418
DTSTAMP:20260912T085008Z
CREATED:20260912T085008Z
LAST-MODIFIED:20260912T085008Z
UID:3605-1807488000-1808006399@matthewbarley.com
SUMMARY:April 12 - 17\, Italy\, Cremona\, Stauffer Academia
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/april-12-17-italy-cremona-stauffer-academia/
LOCATION:Stauffer Academia\, Cremona\, Italy
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270508
DTEND;VALUE=DATE:20270509
DTSTAMP:20260912T085238Z
CREATED:20260912T085238Z
LAST-MODIFIED:20260912T085238Z
UID:3607-1809734400-1809820799@matthewbarley.com
SUMMARY:May 8th\, Poland\, Warsaw\, Azul
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/may-8th-poland-warsaw-azul/
LOCATION:Azul\, Warsaw\, Poland
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270515
DTEND;VALUE=DATE:20270516
DTSTAMP:20260912T085427Z
CREATED:20260912T085408Z
LAST-MODIFIED:20260912T085427Z
UID:3610-1810339200-1810425599@matthewbarley.com
SUMMARY:May 15th UK\, St George’s Bristol
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/may-15th-uk-st-georges-bristol/
LOCATION:St George’s Hall\, Bristol\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270603
DTEND;VALUE=DATE:20270604
DTSTAMP:20260912T085542Z
CREATED:20260912T085542Z
LAST-MODIFIED:20260912T085542Z
UID:3611-1811980800-1812067199@matthewbarley.com
SUMMARY:June 3rd\, Denmark\, Silkeborg
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/june-3rd-denmark-silkeborg/
LOCATION:Silkeborg\, Silkeborg\, Denmark
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20270604
DTEND;VALUE=DATE:20270605
DTSTAMP:20260912T085649Z
CREATED:20260912T085649Z
LAST-MODIFIED:20260912T085649Z
UID:3615-1812067200-1812153599@matthewbarley.com
SUMMARY:June 4th\, Denmark\, Thorsminde
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/june-4th-denmark-thorsminde/
LOCATION:Thorsminde\, Thorsminde\, Denmark
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20270620T193000
DTEND;TZID=UTC:20270620T193000
DTSTAMP:20260912T082458Z
CREATED:20260912T082458Z
LAST-MODIFIED:20260912T082458Z
UID:3563-1813519800-1813519800@matthewbarley.com
SUMMARY:June 20th\, UK\, London\, Sinfonia Smith Square
DESCRIPTION:Dark Lullabies and Light Grooves – compositions and improvisations based on folk music from Brazil\, England\, Finland and The Gambia \nMatthew Barley – cello\, UK                        matthewbarley.com  \nHanna Rynnänen – kantele\, Finland                         hannaryynanenmusic.com \nDawda Jobarteh – kora\, Gambia                                instagram.com/dawda.jobarteh \nAdriano Adewale – berimbau & percussion\, Brazilinstagram.com/adrianoadewale \nDark Lullabies and Light Grooves explores the world of lullabies that have frightening\, threatening or deeply sad lyrics\, and ecstatic\, upbeat rhythmic grooves\, often with improvised solos. These two very different emotional landscapes complement each other as a form of tension and release.  \nEach of the four instruments in the band has a quarter of the programme to introduce the sounds of their instrument\, the lullaby from their country\, and to lead the grooves and improvisations.  \nThe English lullaby explores the relatively mild world of Rock-a-bye Baby\, in which the protagonist falls\, cradle and all\, from the treetop. In the lullaby from Finland the words are tragic\, as a mother sings of wishing her baby will soon be dead\, to be spared the suffering of a brutal and indifferent world. In Brazil\, the child is encouraged to sleep with playful threats of a visit from Baratatu – a kind of giant mythological wood louse. In Gambia\, the threats are a little more visceral – if you don’t sleep\, Kuribamba will come with his machete and cut you to pieces! \nHaving researched this fascinating area both online and in many conversations with mothers\, it seems that a lullaby has a kind of dual purpose: simple and soothing melodies to get little ones to sleep\, and more complex lyrics which young mothers sing to themselves\, expressing more challenging emotions. \nWe have come to these lullabies in different ways – everyone in Gambia knows of Kuribamba and could sing it\, just as people in England know Rock-a-bye Baby. The Finnish text was discovered in a book archiving lullabies from the region (we used a melody from a different lullaby – in that Finnish Runosong tradition\, melodies and texts are interchangeable)\, while the Brazilian one was sent as a voice note by Adriano’s 80-year-old ‘second mother’ from Salvador. We arranged it based on her singing\, the heartful vibrancy of which leapt out of the phone into our ears\, thousands of miles from where it was sung! \nThese four instruments are\, of course\, all stringed\, and therefore the sound worlds can fit together easily and harmoniously. The cello binds the group together\, duetting with all the other instruments and providing a legato singing voice as a foil to the other plucked and often percussive sounds.  \nHanna\, Dawda and Adriano bring to the group many years of deeply studied tradition and history\, and their expertise is profoundly appreciated and enjoyed. All four of us are improvisers – committed to that ancient musical tradition\, as practised all over the world for millennia – and find great joy and communion in that pursuit.  \nI came up with the structures of the piece and wrote some material in advance\, and then we put the flesh on the bones during five inspiring and gloriously long working days at Hawkwood College in Gloucestershire. The working atmosphere was clear and focused\, with a deep and loving respect flowing in all directions as we sought to find the common languages and sounds that would unify our various musical intentions.  \nHuge thanks to these intrepid companions and collaborators. \nMatthew Barley 								\n				\n				\n				\n									\n					\n						\n									30-second clip of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									3-minute highlights of Dark Lullabies and Light Grooves\n					\n					\n				\n								\n				\n				\n				\n									\n					\n						\n									10-minute highlights of Dark Lullabies and Light Grooves
URL:https://matthewbarley.com/event/june-20th-uk-london-sinfonia-smith-square/
LOCATION:Sinfonia Smith Square\, London\, United Kingdom
END:VEVENT
END:VCALENDAR