Steve Pretty On The Origin of the Pieces

How do you tell the entire history of music? If you're director and Cosmic Shambles co-founder Trent Burton, apparently you start with the Big Bang, interview more than 100 people around the world, and emerge four-and-a-half years later with a nine-part, 10.5-hour documentary. This week I'm joined by Trent to talk about For the Record: An Incomplete History of Music, the enormous new series presented by Charlotte Ritchie, which travels from the origins of sound and the earliest music through notation, recording, jazz, rave culture, streaming and AI. I've been deeply embedded in the project myself as music consultant and mix engineer, so this conversation quickly expands beyond the making of the documentary into some of the questions it raises. How do you tell music history when music doesn't evolve in a straight line? What gets lost when oral traditions become notation — or performances become definitive recordings? And what happens to music when a machine can generate it on demand? We get into live performance, improvisation, rave culture, cultural exchange and appropriation, active listening, the economics of grassroots live music, Robert Smith's battle with ticket pricing, and why a 10.5-hour independent music documentary may make more sense on YouTube than on broadcast television. Midway through, there's some actual music too: an excerpt from Slack Tide, my piece for violinist Harriet Mackenzie and me, premiered at First Light Festival 2026 and based on the tidal cycle of the Suffolk coast. IN THIS EPISODE 00:00 – Welcome back and introducing For the Record 02:30 – Trent Burton, Cosmic Shambles and how the project began 06:00 – How 90 minutes became nine episodes and 614 minutes 09:00 – The impossible problem of structuring music history 14:10 – Notation, oral traditions and writing music down 21:30 – Recording and the invention of the “definitive” version 24:30 – AI, commodification and the future of live music 31:00 – Electronic music, improvisation and musical jeopardy 37:00 – Music, humanity, grief and why sound can make us cry 44:00 – Musical interlude: Harriet Mackenzie and Slack Tide 48:40 – Active listening and learning how to hear unfamiliar music 52:00 – Cultural appropriation, exchange and context 59:30 – AI, commercial music and making a living 1:01:30 – The crisis in grassroots live music 1:04:10 – Robert Smith, The Cure and affordable tickets 1:05:45 – Why For the Record is on YouTube rather than TV 1:12:55 – What is the point of music? 1:14:00 – How is music evolving? 1:18:35 – The musical moments that weren't meant to happen WATCH & EXPLORE For the Record: An Incomplete History of Music https://cosmicshambles.com/fortherecord/ Cosmic Shambles https://cosmicshambles.com/ MUSIC FROM THIS EPISODE Slack Tide – Steve Pretty & Harriet Mackenzie https://youtu.be/1c9Urm13Ahw The Lark Ascending – Steve Pretty & Harriet Mackenzie https://youtu.be/ANBH_a-MPs8 Shells & Bells – Steve Pretty & Jason Singh https://youtu.be/qCNOWeMf6pI MORE FROM ORIGIN OF THE PIECES Website – episodes, transcripts and mailing list https://www.originofthepieces.com/ YouTube https://youtube.com/@StevePretty Patreon https://www.patreon.com/StevePrettyOnTheOriginofthePieces If you enjoyed this episode, following the show, rating it or sharing it with another musically curious person makes a real difference. Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

This week, I’m joined by bass Barnaby Rea for a longer-than-usual opera special I mean if we're doing opera, we've gotta go long, right?!), recorded backstage at the Royal Opera House , London. Barnaby is a British/Irish bass who trained at the Guildhall School of Music & Drama and the National Opera Studio. He was a Harewood Artist at English National Opera and a member of the Oper Frankfurt solo ensemble. He has also appeared with companies including the Royal Opera House, Deutsche Oper Berlin, Zurich Opera, Teatro Real, Opéra de Lyon, Scottish Opera and Opera North. We recorded this while Barnaby was performing Doctor Grenvil in Verdi’s La traviata , in Richard Eyre’s long-running Royal Opera production. This episode was also partly inspired by a recent visit to Milan and the extraordinary Teatro alla Scala , which got me thinking about opera not just as music, but as architecture, social ritual, commerce, class, spectacle and power. So this is partly a conversation about opera singing, partly a look at the machinery of a major opera house, and partly an attempt to understand why opera can feel both thrillingly immediate and socially intimidating. We talk about opera vs musical theatre, why singers train for so long, how a voice can fill a huge theatre without amplification, what “placement” and resonance mean, and why vibrato is not just decorative wobbling. We also get into opera’s social context: boxes, gods, stalls, ticket prices, access, prestige, and whether opera’s elitist reputation is entirely fair. There’s also a wider reflection on live music now: why huge arena shows can dominate the public story of the music industry while smaller venues, grassroots promoters, festivals and independent musicians are struggling. This is a longer episode than usual, but that feels fitting for opera: there is a lot of voice, history, scale and backstage machinery to get into. In this episode 00:00 – Steve introduces the opera special, Barnaby Rea, the Royal Opera House and the Milan / La Scala inspiration 01:35 – Barnaby’s route into opera: school swing band, musical theatre, Sweeney Todd, Guys and Dolls and early training 07:30 – Guildhall, opera school, learning the craft, and why opera takes so long to train for properly 12:30 – Singing in different languages and understanding what you are actually saying 15:40 – Opera vs musical theatre: amplification, stamina, acting, dancing and vocal demands 20:45 – Inside the Royal Opera House: backstage scale, sets, docks, ballet and multiple productions 24:45 – La Scala, opera boxes, social hierarchy, standing tickets and opera as mass entertainment 30:05 – Arena economics, struggling grassroots venues, festivals and why smaller gigs matter 36:50 – Is opera elitist? Ticket prices, access, class, prestige and opera culture in Europe 42:35 – Entertaining Noises: Barnaby demonstrates the bass voice 43:00 – Breath, resonance, placement, formant, range and preparing different roles 50:15 – Show days, double casting, vocal recovery, travel, jump-ins and the pressure of saying yes 55:00 – Berg, volume, singing without microphones, working with the room, and breathing with the orchestra 01:00:30 – Vibrato: what it is, why it exists, and why it is not just decorative wobbling 01:03:10 – Steve attempts a brief opera lesson 01:07:40 – Learning roles, memory, punctuality, preparation and what performers can control 01:12:45 – What is music for? Barnaby on release, escape, connection and performance 01:15:50 – Music as personal soundtrack, film scoring, galleries, headphones and emotional recontextualising 01:16:40 – Barnaby’s links, La traviata and walking into productions with decades of history 01:18:35 – Outro: Peter Grimes, Wilton’s Music Hall, Ocean Songs, the website and what’s coming next Guest Find Barnaby Rea at barnabyrea.com and on Instagram at @barnabyrea_bass . Support the show on Patreon: patreon.com/StevePrettyOnTheOriginofthePieces Stay musically curious! Hosted on Acast. See acast.com/privacy for more information.

A collaboration with What We Did Before on the deep history of music, from prehistoric instruments and ritual to place, technology and AI. A slightly different episode this time. Instead of the usual format, I’m sharing an interview I did for the excellent podcast What We Did Before . This particular episode, Before Music: Cave Rituals and Ancient Instruments | Steve Pretty explores where music may have come from, what it might have looked and sounded like before recorded history, and what those origins can still tell us now. We get into prehistoric conch shells and bone flutes, the role of ritual, why location and environment matter to how music develops, and how some of those ancient questions suddenly loop back round when you start thinking about AI-generated music. In other words: caves, culture, creativity, and the usual big weird human questions. I also mention a couple of live dates at the top of the episode. Ocean Songs is at East Point Pavilion in Lowestoft on Saturday 21st March , and the album launch is at Theatreship in London on Tuesday 24th March . My next live edition of Steve Pretty On the Origin of the Pieces is at Wilton’s Music Hall on Tuesday 19th May , featuring Jim Bob. In this episode a collaboration with What We Did Before where music may have come from prehistoric instruments, including conch shells and bone flutes music, ritual and early human culture why place and environment shape musical traditions some thoughts on AI and what it means for music now Also mentioned Ocean Songs at East Point Pavilion, 21st March Ocean Songs album launch at Theatreship, 24th March Steve Pretty On the Origin of the Pieces live at Wilton’s Music Hall, 19th May Hosted on Acast. See acast.com/privacy for more information.

In this episode, I’m dedicating the show to Nathaniel Dye — musician, music teacher, brass band obsessive, ultramarathon runner, and one of the most quietly extraordinary people I’ve met. We begin with Nat performing his song “Public Service Announcement” (recorded live at my Wilton’s Music Hall show in November 2024) — a funny, furious, razor-sharp call to take bowel cancer symptoms seriously. Nat sadly died recently from complications related to bowel cancer. This episode is part tribute, part replay, part attempt to hold onto the actual substance of what he stood for: making things, teaching people, and choosing music — not as escapism, but as a meaningful way to use the time you’ve got. You’ll also hear excerpts from my “Listen like a musician” series, and then a replay of my earlier interview with Nat (from Episode 10), where he talks about his diagnosis, his fundraising, his trombone marathon plans, and what music became for him after everything changed. In this episode Nat’s live performance of “Public Service Announcement” Why he threw himself back into teaching and music-making after treatment The story behind Bowel Cancer Bucket List and the fundraising work A replay of our earlier chat: music, mortality, and doing the thing anyway The episode outro: Nat’s music, accompanied by bass/tuba greats Guy Pratt and Theon Cross Links & references Bowel Cancer Bucket List (Nat’s site + donation links): bowelcancerbucketlist.com Matters of Life and Death (album page): Bowel Cancer Bucket List – album page Matters of Life and Death (Spotify): Spotify album link “Public Service Announcement” (Spotify track): Spotify track link Donate to Macmillan Cancer Support: Macmillan donation page Guy Pratt: guypratt.com Theon Cross who appears in Nat's closing song too: theoncross.com Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

Episode 37 - A clap, a Slap and a Stomp What actually is musical time? In this episode, Steve kicks off 2026 with the first four days of his “12 Days of Listening” mini-series — all about pulse, groove, and how our brains latch onto patterns (sometimes to our advantage, sometimes not). Then we jump to Wilton’s Music Hall (January 2025) for a live guest spot from Aluá Nascimento — Brazilian percussionist, multi-instrumentalist, and former STOMP cast member — starting with a trumpet + pandeiro duet on “Brazil” and expanding into body percussion, Afro-Brazilian rhythm traditions, and the wonderfully low-tech joy of making music out of whatever’s around. Along the way, Aluá talks about growing up around capoeira , how culture and history shaped these sounds, and demonstrates instruments including berimbau (musical bow), caxixi (shaker), and pandeiro — with a bit of audience participation thrown in too. In this episode A practical listening upgrade: pulse vs rhythm (try it while walking) “The pocket”: groove as micro-timing , not just the pattern Why your brain is basically a pattern-hunting drummer Shared time / entrainment : why humans sync up (and why it matters in music) Live at Wilton’s: trumpet + pandeiro on “Brazil” Aluá’s story: capoeira roots, Afro-Brazilian traditions, and the STOMP years Instruments you’ll hear: body percussion, pandeiro, berimbau, caxixi (and more) Find Aluá Instagram Beat Goes On (bio + workshops) Watch: Aluá Nascimento & Helene Jank – Body Music (YouTube) Also in this episode Steve mentions Episode 36 (breaking down how the My Friend Maisy theme was made) Wilton’s Music Hall shows : 24th January — kids/family show at 2pm , evening show at 7pm Support the show Explore episodes, transcripts, and more: originofthepieces.com Join the Patreon: patreon.com/StevePrettyOnTheOriginofthePieces If you enjoyed this one, share it with a musically curious human (it helps more than you’d think) Stay musically curious! Hosted on Acast. See acast.com/privacy for more information.

From a Colombian ritual flute heard backstage at Oslo Mela to a children’s TV theme tune played on a London school playground, this episode explores why pentatonic scales turn up everywhere — and why they feel so immediately playable, memorable, and emotionally direct. Along the way, Steve unpacks the thinking behind the theme tune he wrote for My Friend Maisy (also available on NOW ), based on the books by Lucy Cousins , and how five carefully chosen notes can shape an entire musical world. The episode takes a gentle detour into Colombian traditional music with a backstage conversation recorded in 2024 with El León Pardo of Mestizo Collective , exploring the gaita — a ritual wind instrument built around paired male and female voices, deep cultural symbolism, and tightly limited pitch material. That sound becomes a useful reference point for the episode’s main thread: how scales function less like theory and more like palettes of identity . Back in TV land, Steve breaks down the Maisy theme in detail, showing how pentatonic scales sit at the heart of children’s musical toys, playground instruments, and early musical experiences — and why avoiding semitone clashes makes music feel instantly safe, inclusive, and playable. Using live demonstrations, playground recordings, and some creative repitching in Melodyne , the episode shows how tiny changes to a scale can completely transform a melody’s emotional character. In this episode: • A backstage conversation with León Pardo about the Colombian gaita , its ritual use, construction, and sound-world. • How male and female gaita flutes are paired, and what that reveals about musical identity. • Why pentatonic scales appear in folk traditions, playground instruments, and children’s musical toys worldwide. • A breakdown of the theme tune Steve wrote for My Friend Maisy , based on the books by Lucy Cousins. • Why playground bells and boomwhackers are almost always pentatonic — and why that matters. • A live experiment repitching the Maisy theme into an Ethiopian-inflected pentatonic. • Why thinking of scales as identities or colour palettes can make musical listening feel less intimidating. Also in this episode, Steve reflects on why many people drift away from music when theory becomes detached from sound — and why listening itself is a learnable, creative skill , whether or not you play an instrument. Plus details of the upcoming Steve Pretty On the Origin of the Pieces live shows at Wilton’s Music Hall on 24th January , including the first ever Origin KIDS matinee at 2pm and the evening show at 7pm . Full details and tickets at originofthepieces.com/live . 🎧 Listen, rate and share to help more musically curious ears find the show. 💻 More episodes, transcripts, and extras at originofthepieces.com 🪶 Patreon: patreon.com/StevePrettyOnTheOriginofthePieces Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

From Addis to the Barbican and back again, this episode dives into the sound-world shaped by Mulatu Astatke — the father of Ethio jazz. With Mulatu having recently completed his farewell tour, Steve goes back to a long, previously-unreleased interview he recorded with him during the making of Hackney Colliery Band’s Collaborations: Volume One . What emerges is a portrait of a true pioneer: a composer trained in London and at Berklee, a collaborator with Duke Ellington, and the architect of a style heard across film soundtracks, samples and stages worldwide. Expect discussions of Ethio jazz’s roots in traditional modes and tribal instruments; a journey through pentatonic and diminished scales; and Mulatu’s deep reflections on African musical heritage and collaboration. There’s even a live extract of Derashe from HCB’s Barbican show — the tune he discusses in the interview. In this episode: • How Mulatu fused Ethiopian pentatonic traditions with jazz harmony and improvisation. • Why some Ethiopian tribes use diminished (whole–half) scales, and how that changes the emotional palette. • The story of Duke Ellington’s Jazz Ambassadors tour — and how Ellington ended up performing one of Mulatu’s arrangements in Addis. • The embilta, washint and other Ethiopian wind instruments that parallel trumpets, trombones and baritone sax. • The link between African “bush” instruments, mbira/“African piano” traditions, and Western harmonic thinking. • A rare 2018 interview captured at Livingston Studios during the HCB/Mulatu recording sessions. • A live performance of Derashe from the Barbican, featuring Hackney Colliery Band and Mulatu Astatke. Also in this episode, Steve welcomes listeners from the New Scientist Podcast and explores the science–music crossover behind shell acoustics, underwater sound, and the physics of musical evolution. Plus a reminder that the new Origin of the Pieces website now includes full transcripts, an interactive world-map archive of every episode, and a growing library of extras. And don’t miss the upcoming Wilton’s Music Hall shows on 24th January 2026 , including the first ever Origin KIDS matinee at 2pm and the evening performance at 7pm. TICKETS . 🎧 Listen, rate and share to help more musically curious ears find the show. 💻 More episodes and extras at originofthepieces.com 🪶 Patreon: https://patreon.com/StevePrettyOnTheOriginofthePieces Hosted on Acast. See acast.com/privacy for more information.

From the high lonesome sound of Appalachia to the flow of a Bronx cipher, this episode explores what happens when two traditions of storytelling and rhythm collide. Recorded at the WOMEX 2024 world-music gathering in Finland, Steve talks with Gangstagrass — the trailblazing American group fusing bluegrass instrumentation with hip-hop lyricism and beats. Expect fiddles, banjo and beats; live sessions that blur the line between folk jam and freestyle; and a conversation about community, curiosity and the shared language of groove. There’s even a spontaneous rap about Origin of the Pieces and a bus-ride performance that somehow turned into a cipher on wheels. In this episode: How Gangstagrass blend banjo, fiddle and MCs without losing the soul of either style. Why hip-hop ciphers and bluegrass picks are closer than you might think. The jam session as a universal language — connecting folk musicians, rappers and improvisers worldwide. How genre boundaries were drawn by history, and how artists can redraw them. A stripped-back version of Do Better plus a freestyle that plugs their UK tour entirely in rhyme. Gangstagrass UK Tour — November 2025 Also in this episode, Steve launches the new Origin of the Pieces website — featuring full transcripts, an interactive world-map archive , the Darwin-trumpet T-shirt shop, and exclusive extras via Patreon . And don’t miss the upcoming Wilton’s Music Hall shows on 24 January 2026 , including the first ever Origin KIDS matinee and an evening performance featuring new guests and experiments in sound. 🎧 Listen, rate and share to help more musically curious ears find the show. 💻 More episodes and extras at originofthepieces.com 🪶 Patreon: patreon.com/StevePrettyOnTheOriginofthePieces Hosted on Acast. See acast.com/privacy for more information.

From living-room experiments to Malawian street stages — and a brief stop-off in Transylvania. This week, Steve explores what it means to sing what you see : making music that’s spontaneous, handmade and gloriously human. There’s a Halloween detour into his live Nosferatu score , a new Clip n Mix , and a look at the brilliant Madalitso Band from Malawi — two musicians whose home-built instruments and hypnotic grooves turn simplicity into joy. Plus: the mystery of a slightly windy theme tune proves that accidents can be the best kind of inspiration. 👇 Full timestamps + links below! ⏱️ Chapters 00:00 – A suspiciously familiar theme 02:30 – Living-room experiments & musical accidents 06:40 – Clip n Mix – turning everyday sounds into music 10:45 – Vampire Vamps: Nosferatu score ( watch ) 16:30 – Introducing Madalitso Band (Malawi) 22:00 – Homemade instruments & street recordings 32:00 – Singing what you see 44:30 – Finding beauty in simple sounds 55:20 – Wilton’s shows, Patreon & Universe of Music tour 🔗 Links & Extras 🎧 Listen / Watch YouTube | Apple Podcasts | More platforms 🎬 Nosferatu live score → Full video 🎛 Support / Extras → Patreon 🪐 Universe of Music Tour (with Chris Lintott) Corsham (20 Nov) | Cambridge (27 Nov) | Shoreham-by-Sea (15 Jan) 🎟 Full info → universeofmusic.co.uk 🎟️ Live at Wilton’s Music Hall – 24 Jan 2026 👨‍👩‍👧‍👦 KIDS matinee (2 pm) – interactive family show 🌙 Evening show (7 pm) – live podcast with guests & musical surprises 💸 Code SPRETTY15 = £15 best available seats Book Kids | Book Evening 💬 Got a weird sound you’d like Steve to turn into music? Email podcast@stevepretty.com or comment with #ClipnMix. 🙌 Like, subscribe & stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

⚠️ Note: This is a re-upload The original episode was taken down due to a copyright strike on the theme tune — even though I wrote and produced it myself. While I sort that out, you’re treated to a gloriously bad placeholder version. Also, I’ve trimmed down the Clip n Mix segment — I was clearly having too much fun with firepits last time, and it got a bit… indulgent. This one gets to the good stuff faster. 🔥 Can you make music from a campsite firepit? And what is Tonás — the raw, unaccompanied flamenco style with roots in secrecy, survival, and soul? In this episode, I launch a new segment called Clip n Mix , where I turn everyday sounds into music. This time? A campsite firepit. My son and I hit it with sticks, sample it using Ableton Note , and turn it into a crunchy little beat — which you’ll hear later in the episode. Then we dive into one of flamenco’s most haunting styles: Tonás . My guest is the brilliant Josie Sinnadurai , a flamenco dancer based in Seville, who helps unpack the history, sound, and emotional depth of this unaccompanied vocal tradition. 👇 Full chapters and links below! ⏱️ Chapters 00:00 – Intro + why the theme tune sounds different 02:20 – Clip n Mix: sampling a firepit in Dorset 09:45 – What is Tonás? 10:20 – Interview with Josie Sinnadurai 34:50 – Why I didn’t make a Tonás track 35:20 – Turning firepit samples into music 49:15 – Sound, play, and curiosity 54:25 – Live shows + Patreon + sign-off 🔗 Links 🎬 Watch the Tonás video : https://www.youtube.com/watch?v=X7vpU5zLl-A 👣 Follow Josie Sinnadurai : Website: https://www.josielaurelflamenco.com/ Instagram: @josie_sinna 📱 Try Ableton Note (free app) : iOS: https://apps.apple.com/app/ableton-note/id1611814758 Android: https://play.google.com/store/apps/details?id=com.ableton.note 🎧 Download the firepit samples + Ableton Note session : https://www.patreon.com/StevePrettyOnTheOriginofthePieces 🎟️ Live at Wilton’s Music Hall – 24th Jan 2026 👨‍👩‍👧‍👦 Kids show (2pm) : https://wiltons.org.uk/whats-on/steve-pretty-and-friends-on-the-origin-of-the-pieces-kids/ 🌙 Evening show (7pm) : https://wiltons.org.uk/whats-on/steve-pretty-and-friends-on-the-origin-of-the-pieces-2/ 💬 Got a weird sound you’d like me to turn into music? Drop it in the comments or email podcast@stevepretty.com Hosted on Acast. See acast.com/privacy for more information.

What can a lump of whale earwax tell us about human history? What does the end of the universe sound like? And how do you play the sea like a synthesiser? This episode of Steve Pretty On The Origin of the Pieces goes from marine mammal physiology to cosmological heat death, taking in hydrophones, cultural transmission in humpbacks, the physics of underwater sound, and an improvised trumpet elegy for the end of everything. My guests are: Chris Lintott – astrophysicist, broadcaster, and co‑host of The Sky at Night . We open with a live extract from our Universe of Music show, performed at Gresham College — exploring what sound and music can tell us about the ultimate fate of the cosmos. Richard Sabin – whale expert and lead curator of mammals at the Natural History Museum , who shares sonic insights from the deep — including how 150 years of whale earwax is helping scientists track stress in marine life. We also: Hear vintage 78 rpm whale recordings, played on a £60k system at Audio Gold Use filters to “play the sea” like a scale Drop a hydrophone into a water tank and see how sound behaves Discuss echolocation, underwater acoustic pollution, and whale “culture” Recreate underwater acoustic effects via processing and pitch shifting Reflect on what it means to really listen — to whales or the cosmos Recorded live at the brilliant First Light Festival in a sweltering tent by the sea (thanks again to them for hosting us). 🧠 Bonus content 🎥 The full, uncut interview with Richard Sabin — including audience Q&A and extended hydrophone demos — is available on Patreon . 👯 Mentioned in this episode Sonic Collaborations – project by Colin Riley & team Audio Gold – London hi‑fi / vinyl emporium Natural History Museum First Light Festival Chris Lintott 💌 How to support the show Join the mailing list: www.originofthepieces.com Become a patron: patreon.com/StevePrettyOnTheOriginofthePieces Share with a musically curious friend Rate & review on Apple or Spotify — it genuinely helps 🎧 Hosted on Acast. See acast.com/privacy for more information.

This week I speak to Kassandra e’Silva , a saxophonist, improviser and NHS music therapist. We caught up just before a gig at the Edinburgh Jazz Festival to talk about the power of music in care settings — from dementia wards and mental health clinics to the BBQ playlist at home. We cover: Baby‑wearing during soundcheck 👶 Pre‑verbal communication in music Clinical improvisation and jazz Whether all music is a kind of therapy And why rhythm might be the most important bit — ⏱️ Highlights 00:00 – Intro – ALSO Festival, Nosferatu live score, and a conch bath update 03:00 – Edinburgh Jazz Festival – A tribute to The Jazz Bar and Bill Kyle 08:30 – Interview with Kassandra e’Silva – Backstage at the Spiegeltent 10:00 – What music therapy is – Presence, trauma, and non-verbal expression 13:30 – Lighting up the brain – Music as reconnection 16:00 – Music at both ends of life – Parenting and dementia 20:00 – Letting go of ‘good’ music – From jazz standards to egg shakers 23:10 – Rhythm as anchor – Repetition, stability, and mental health 25:40 – Creative expression – Instruments, blocks, and tambo-responsiveness 29:40 – Teaching vs therapy – When learning becomes part of healing 31:40 – Improvisation as diagnostic mirror – Sound as resistance 34:40 – Participation matters – Why passive listening isn’t enough 36:10 – What’s the point of music? – A beautiful closing answer — 🎶 Check out Resounding , co-written with Nicole Cassandra Smit, on Hackney Colliery Band – Collaborations: Volume Two 👉 Listen on Bandcamp — 💬 Resource: Music in Dementia (NHS Lothian) Kassandra helped develop this practical guide for carers, families and practitioners. Includes activity ideas, playlists, and real examples from NHS care. 🎵 Explore the guide Note: Kassandra’s views are her own, not those of NHS Lothian. — 🎧 Support the show: 💌 originofthepieces.com ☕ patreon.com/StevePrettyOnTheOriginofthePieces #musictherapy #jazz #musicanddementia #improvisation #originofthepieces #kassandraesilva #stevepretty Hosted on Acast. See acast.com/privacy for more information.

This week, Steve shares a powerful, surprising, and often jaw-dropping conversation with musician, composer and activist Jono Enser . Jono is a gifted multi-instrumentalist and a member of Nubiyan Twist , but he’s also a disabled artist whose recent experiences as an amputee have sparked a radical rethinking of performance, access, and the body as instrument — quite literally. Together, they explore: The challenges and realities of touring as a disabled musician How venue design (or lack of it) creates systemic barriers to inclusion The radical creativity of reclaiming trauma — including Jono’s current project turning his amputated leg bone into a working flute Musical ancestors: from Neanderthal bone flutes to Tibetan thighbone trumpets Why accessibility isn’t just a bolt-on feature — it’s a cultural responsibility And what it means to give your pain a voice, breath, and song Plus, Steve shares a clip from his Ocean Songs sunrise performance at Benacre Broad — part of his work with the Blue Machine project, inspired by Dr. Helen Czerski’s oceanography book of the same name. There’s a lot packed in here, and it’s one of the most wide-ranging and deeply personal episodes yet. 🎟 Jono’s band Nubiyan Twist are touring this summer – check them out. 🎶 His solo project Matters Unknown is also worth diving into. 🎤 Steve is performing live at ALSO Festival and on July 11th at the National Maritime Museum with Blue Machine – see originofthepieces.com for details. — 🧡 Support the podcast and get exclusive content at: patreon.com/StevePrettyOnTheOriginofthePieces 🎧 Listen, watch, share and review: it all helps the podcast grow. 📍 More info at originofthepieces.com 00:00 – Welcome back + Acid Brass recap Steve introduces the episode and reflects on his recent chat with Jeremy Deller. 02:00 – Meet Jono Enser Jono’s musical upbringing, his shift from trumpet to tuba, and the spiritual resonance of breath. 07:00 – Life as a touring amputee The hidden and not-so-hidden barriers for disabled musicians on the road. 10:00 – Access is everywhere (or isn’t) From venue layouts to door weights and bar heights — access means more than ramps. 14:00 – What artists and venues can actually do Practical steps, responsibility, and why checking access before the gig matters. 18:00 – Ocean Songs interlude Steve shares a clip from his beachside dawn performance as part of the Blue Machine project. 23:00 – A flute made from his own amputated leg Jono’s extraordinary project connecting trauma, ancestry, and sonic experimentation. 28:00 – Resonance, ritual, and reclaiming space Caves, Ambisonics, somatic practice and ecological listening. 32:00 – Music as breath and transformation Why giving pain a voice — literally — matters. 36:00 – What’s the point of music? Jono’s heartfelt answer to Steve’s recurring question. 40:00 – Wrap-up and upcoming gigs Tour dates, ALSO Festival, and National Maritime Museum performance previews. Hosted on Acast. See acast.com/privacy for more information.

❤️ Support the show on Patreon: http://www.patreon.com/StevePrettyOnTheOriginofthePieces 📬 Join the mailing list + explore the archive: https://www.originofthepieces.com Welcome back to your favourite podcast for musically curious ears! This week, I’m talking to the brilliant Jeremy Deller , Turner Prize-winning artist and creator of the now-legendary Acid Brass project — a bold collision of working-class brass band tradition and squelchy late-80s acid house. Join us as we trace the unexpected cultural connections between miners’ strikes, 303s, and knitting in the front row… ⏱️ Chapters and Highlights : 00:00 – Welcome and new format intro Steve explains the new single-topic format and introduces today’s guest, Jeremy Deller. 02:00 – The story of Acid Brass From a Turner Prize idea to a 30-year legacy: how Jeremy connected acid house and brass bands. 05:00 – Why it inspired Hackney Colliery Band Steve reflects on how Acid Brass shaped his own journey. 07:00 – Interview Pt. 1: Backstage at rehearsal Jeremy and Steve discuss working-class music, the politics of sound, and whether acid house is “folk.” 14:00 – What’s a 303, anyway? Steve demos the iconic Roland TB-303 and compares it to traditional brass. 17:00 – Interview Pt. 2: Deeper dive Jeremy reflects on his artistic intentions, early audience reactions, and the cultural fallout. 29:00 – The knitting incident Yes, really. Knitting, brass bands and acid house. Who'd have thought? 32:00 – Musical roles and expectations Steve discusses how Acid Brass plays with what music is for . 33:00 – The Big Question: What’s the point of music? Jeremy shares his thoughts on connection, spirit, and why most artists are just frustrated musicians. 36:00 – Outro and rehearsal teaser Steve wraps up and previews an exclusive clip from the Acid Brass rehearsal at EartH Hackney. 🎟️ Event Promo (if catching in time!) Catch Acid Brass live at EartH Hackney on 13th June 2025 , followed by a late-night party with acid house pioneer A Guy Called Gerald . Limited tickets available! 🎟️ Check ticket availability 🎥 Video extras & behind-the-scenes at: Patreon.com/StevePrettyOnTheOriginofthePieces Hosted on Acast. See acast.com/privacy for more information.

In this Eurovision-week bonus episode, Steve Pretty is joined by actor, singer, and former UK Eurovision contestant Frances Ruffelle , recorded live at Wilton’s Music Hall. 📺 Watch Frances’s Eurovision performance: https://www.youtube.com/watch?v=cXtXpj2FGF8 🌐 Visit Frances Ruffelle’s website: http://www.francesruffelle.com ❤️ Support the show on Patreon: http://www.patreon.com/StevePrettyOnTheOriginofthePieces 📬 Join the mailing list + explore the archive: https://www.originofthepieces.com 00:00 – Intro from Steve Steve explains this emergency Eurovision-themed sub episode and gives updates on the podcast relaunch, including work with the Natural History Museum and upcoming Wilton’s shows. 02:30 – Why Eurovision? Steve admits he was a bit of a Eurovision skeptic — until diving into the history while preparing for this chat with Frances. 03:45 – Meet Frances Ruffelle Tony Award-winning actor, West End and Broadway star, and the UK’s 1994 Eurovision entry. Frances joins Steve for a live conversation and performance at Wilton’s Music Hall. 05:55 – Opening music: Mood Indigo Live duet of Duke Ellington’s Mood Indigo . 07:00 – Am I a ‘proper’ musician? Frances reflects on musical self-doubt, and Steve challenges the idea that you need classical training to be ‘real.’ 08:40 – Storytelling through song Frances talks about music as a storytelling tool — especially in theatre. 10:30 – Growing up with music hall Frances shares her roots in music hall, her mum Sylvia Young’s legacy, and her first performance at age five. 14:00 – The history of Wilton’s A deep dive into the family connection to Wilton’s Music Hall and its restoration. 17:00 – Musicals vs ‘play with music’ Frances discusses a new show she’s writing with Alan Cumming and how it blends genres. 19:00 – Eurovision 1994: Behind the Scenes How the BBC approached her, why she initially said no, and how it all unfolded — including singing eight songs for the selection show. 21:30 – Live orchestra, no nerves Frances recounts the Eurovision performance experience in Dublin — nerves, glam, and all. 23:00 – On music’s purpose Steve asks: “What’s the point of music?” Frances’s answer: “Togetherness and freedom.” 24:00 – Live Eurovision performance Frances sings her 1994 song Lonely Symphony (We Will Be Free) live — her first public performance of it in 30 years. 26:00 – Outro Steve teases upcoming content, invites contributions for Clip n Mix , and encourages sign-ups to the newsletter and Patreon. Hosted on Acast. See acast.com/privacy for more information.

Wilton's Music Hall show 30th April: use code PRETTYAPR25 for best available seats for £15 Mailing list : sign up for special offers, news and more Patreon : sign up for FREE for all manner of bonus goodies and to be part of a growing musically-curious community Description: To mark World Poetry Day, Steve drops a surprise bonus episode featuring writer, comedian, and poet Robin Ince , recorded live at Wilton’s Music Hall. Robin performs a series of poems—some whimsical, some urgent—including one inspired by Steve’s conch bath performance at ALSO Festival. That performance also makes an appearance here in audio form, with seashells and electronics combining into something… well, unusual. The episode closes with reflections on music, abstraction, and the emotional power of sound. Timecodes: 00:00 – Intro: why this bonus episode exists 01:04 – Robin Ince at Wilton’s: poems and reflections 02:06 – Poem: The Conch Bath (plus excerpt from Steve’s performance at ALSO Festival) 09:00 – Poem: Not All Men 12:08 – Poem: Creation Envy 13:47 – Poem: Let Me Celebrate You Now 15:24 – Robin and Steve on the point of music Watch the video version (including Robin onstage and Steve in the lake at ALSO Festival): 📺 youtube.com/@StevePretty Extras and support: 🎟 £15 tickets for Wilton’s show on 30 April with code PRETTYAPR25 🌐 Website, mailing list, Patreon and more: originofthepieces.com Hosted on Acast. See acast.com/privacy for more information.

Wilton's Music Hall show 30th April: use code PRETTYAPR25 for best available seats for £15 Mailing list : sign up for special offers, news and more Patreon : sign up for FREE for all manner of bonus goodies and to be part of a growing musically-curious community In this special 25th episode of Steve Pretty on the Origin of the Pieces , Steve takes a moment to reflect, celebrate, and introduce something new. 00:00 - Intro & Live Shows Steve reflects on recent gigs at Wilton’s & Also Festival. 04:57 - Podcast Evolution & Short Break Big changes ahead: new website, workflow, and video podcast format. 09:05 - The Video Podcast Upgrade From Episode 26, watch on Spotify, YouTube, and more. 11:34 - New Segment: Clip n Mix Listeners send in audio/video snippets , and Steve turns them into music. Submit via podcast@stevepretty.com or social media. 14:52 - The Story Behind ‘Reawake’ How surviving the 2004 tsunami and attending his own memorial gig led to this song. 20:39 - Making Music from a Heartbeat Steve records his daughter’s first ultrasound heartbeat and turns it into music. 26:26 - Sound Design Breakdown Steve demos how he transforms the heartbeat into a full track using sampling & processing . 36:21 - Full Track: ‘Reawake’ Hear Hackney Colliery Band ’s emotional piece, featuring his daughter’s heartbeat. 44:37 - Reflections on Survival & Creativity How the tsunami shaped Steve’s outlook and approach to music. 49:34 - What’s Next? Steve takes a short break before the video relaunch . Send in your Clip n Mix submissions! 👉 Stay connected: 📧 Join the mailing list for updates, exclusive content & ticket offers: www.originofthepieces.com 💰 Support the show on Patreon : Get behind-the-scenes access and bonus goodies. 📲 Follow Steve on social media : @stevepretty on Instagram , @steveprettymusic on TikTok Hosted on Acast. See acast.com/privacy for more information.

Wilton's Music Hall show 16th January: use code PRETTYJAN25 for best available seats for £15 Wilton's Music Hall show 30th April: use code PRETTYAPR25 for best available seats for £15 Mailing list : sign up for special offers, news and more Patreon : sign up for FREE for all manner of bonus goodies and to be part of a growing musically-curious community In this episode of 'Steve Pretty on the Origin of the Pieces', Steve Pretty returns after a long hiatus to share his exciting adventures, including a trip to Morocco. He discusses the erratic podcast schedule, future plans for the show, and reflects on notable past episodes, such as the interview with Finnish throat singer Pelkkä Poutanen. The episode features an in-depth conversation with vocal coach Juliet Russell about the mechanics of the human voice, vocal techniques, and the importance of emotional connection in music. The show concludes with an update on previous guest Nathaniel Dye, who has recently been honored with an MBE for his contributions to cancer awareness and NHS campaigning. 00:00 Introduction and Podcast Overview 01:12 Recent Adventures and Moroccan Music 02:52 Exciting Plans for 2025 03:41 Recap of Episode 23 and Wilton's Music Hall Show 08:31 Upcoming Wilton's Show and Special Guests 11:31 Interview with Vocal Coach Juliet Russell 24:47 Unlocking Your Natural Musicality 25:59 Learning by Listening and Copying 27:33 Understanding Timbre and Instrumental Voices 29:20 Breathing Techniques for Singing and Playing Instruments 32:00 Interactive Vocal Exercises 36:56 Celebrating Musical Achievements and Personal Stories 38:47 Nathaniel Dye's Inspiring Journey and Album 41:03 Closing Remarks and Final Song Hosted on Acast. See acast.com/privacy for more information.

Wilton's Music Hall show 30th November: use code STEVEPRETTYF for best available seats for £15 Wilton's Music Hall show 16th January Mailing list : sign up for special offers, news and more Patreon : sign up for FREE for all manner of bonus goodies and to be part of a growing musically-curious community A typically eclectic episode this, with a fascinating demonstration of and discussion about throat singing from Finnish composer/performer Pelkkä Poutanen , recorded at the WOMEX world music summit in Manchester. Learn about 'asshaling' (inhaling through your bum) and zithers made out of skateboards, and then listen to Steve make the notoriously tricky skill of throat singing sound even harder than it is... And then it's over to north London for some insight into all things HiFi - specifically beautiful vintage hifi - from legendary home audio shop Audio Gold . Steve gets a tour of the premises, including an old bank vault full from floor to ceiling with rare vintage goodies, then sits down for an extended chat with Alex Barwise from the shop. They discuss the relative merits of old vs. new technology, touch on the great analog vs. digital debate and talk about the fact that using gorgeous old sound equipment is both the most intentional and even greenest way to enjoy music. Then Steve clips some microphones to his ears and checks out the podcast theme played on a setup costing £180 and then a setup costing more than £23,000... Can you hear the difference?! 00:00 Introduction and Welcome 00:54 Recap of Previous Episode 01:51 Upcoming Wilton's Music Hall Show 02:09 Special Guests and Performances 06:23 Interview with Petra Podnan 11:40 Petra's Musical Journey 15:34 Throat Singing Techniques 34:34 Cultural Sensitivity in Throat Singing 37:20 The Essence of Music 37:50 Artist Promotion and Social Media 38:19 Thank You and Farewell 38:47 Exploring Audio Gold 39:50 Hi-Fi Shop Tour 42:33 The Appeal of Vintage Hi-Fi 44:00 Understanding Stereo and Mono 58:04 Analog vs Digital Debate 01:08:34 Listening Test and Conclusion 01:15:21 Final Thoughts and Announcements Hosted on Acast. See acast.com/privacy for more information.

Wilton's Music Hall show 30th November: use code STEVEPRETTYF for best available seats for £15 Mailing list : sign up for special offers, news and more Patreon : sign up for FREE for all manner of bonus goodies and to be part of a growing musically-curious community In this (yet again) slightly delayed episode - this time due to computer meltdown in the middle of some major deadlines, which is FUN - Steve serves up a tasty German special, inspired by Oktoberfest and his recent visits to Munich and Berlin. He promotes an upcoming gig at Wilton’s Music Hall, including announcing incredible guests Guy Pratt, Robin Ince, and Theon Cross. The episode then goes on to explore German beer hall music, with insights from Wolfgang King in Munich, and dives into tech trance through a visit to Berlin's techno scene. The Genre Tombola section presents Steve's tech trance adaptation of a traditional drinking song, Prosit, because of course it does. Upcoming plans include episodes on avant-garde metal and the eagerly awaited flamenco genre, Tonas. 00:00 Introduction and Welcome 00:29 Podcast Updates and Listener Feedback 02:43 Special Guests Announcement 06:07 Genre Tombola: German Special 08:44 DefibFest: A Musical Charity Event 21:36 Exploring Munich's Beer Halls 25:37 The Evolution of Music in Bavarian Beer Halls 26:18 Composing Beer Hall Music 26:40 Unique Instrument Lineup in Beer Hall Band 28:08 The Role of the Harp in Beer Hall Music 31:05 The Tradition of Stammtisch 33:10 The Prosit Song Tradition 34:39 The Purpose of Music in Beer Halls 36:24 Exploring Tech Trance 37:12 Understanding EDM and Its Elements 42:37 The Techno Experience in Berlin 46:22 Creating a Tech Trance Track 50:40 Upcoming Genres and Closing Remarks Hosted on Acast. See acast.com/privacy for more information.