Review: Black Dyke Band at the 2026 RNCM International Brass Band Festival

A Showstopper Performance by Black Dyke Band at the RNCM Brass Band Festival

With Professor Nicholas Childs at the helm, Black Dyke pulled out all of the stops to deliver an history-making performance at the 2026 RNCM Brass Band Festival. From a world premiere by one of the world's biggest composers, and a sensational duet performance from two of the bands star soloists to a 'you-had-to-be-there' performance from percussion virtuoso, Yasuaki Fukuhara.

It was phenomenal!

Fanfare for Bradford by Paul Lovatt-Cooper

A sparkling energy , which we have come to expect from PLC's writing, opens up the final concert of the day. Big band sounds being driven on by snare and soaring cornets come together to create a heroic atmosphere in the RNCM concert hall. A highlight was a stunning solo entry from the band's solo horn, Siobhan Edwards which grew into a sublime duet moment with Phoebe Mallinson on flugelhorn.

Wildfire by Bruce Broughton (World Premiere)

So, Bruce is a massive musical hero for both myself and my husband Rob, thanks to the amazing music he has written for the Disney parks, alongside his scores for Western films like Silverado (which is one of the tunes on my contest morning playlist). So, as you can imagine, we were beside ourselves when Bruce himself, all the way from the states, took to the stage to introduce his latest work, Wildfire.

Inspired by the terrifying 2025 Los Angeles fires, the piece was incredibly evocative and captured not only the destructive nature of the fire, but the terror, loss and fear it caused, through the inventive use of percussion and viscerally emotive writing.

'Wildfire' ignited with a snap of percussion and frantic muted cornets to paint a musical illustration of panic, as the fire sparks to life. The inferno grew as the band rose dynamically with dramatic cries from trombone, before it started to spread with the fast-paced, panicked cornet line.

Adam Bokaris on Solo Euphonium began a series of anxious, fleeting passages that are then passed around the stand before a diminuendo ensemble chord led us into a desolate, thinly-scored section as the devastation left behind by the fire lay before us. As an audience member, you felt a deep sense of loss, when the newly-appointed Principal Cornet, Tom Hutchinson, presented a morose, almost despondent solo line that soared over the accompanying horns an baritones, before the full band joined together once more with the mood switching from sadness to anger.

A virtuosic euphonium duet was written in a conversational style that painted the picture of the residents coming together and asking 'what do we do now?'. Tension builds, and there was an underlying feeling of panic all the way to the decisive punch of an ending, depicting the fear of the wildfires happening again.

It was an absolute triumph of a work. I could see in my mind's eye every detail the composer outlined in his introduction, which is a testament to the deeply descriptive and expressive nature of Broughton's writing. Witnessing a work written for a musical movement you've grown up in and have so much passion for, by a composer who you admire greatly is something so special - I don't think it's possible to put into words. A highlight of not only the festival, but my brass band life to date.

Gemini (Duo Concerto for Cornet, Euphonium and Brass Band) by Philip Sparke

The next work the audience at the RNCM International Festival of Brass were treated to was a powerhouse duet from the band's Principal Cornet, Tom Hutchinson and Solo Euphonium, Adam Bokaris.

A lively work from the get-go, the synergy created between these two great soloists was simply awe-inspiring. Although fiendishly demanding in its technical detail, the piece remained true to Sparke’s hallmark style, never allowing virtuosity to come at the expense of musical integrity or listener engagement.

The lively pace was slowed by a beautiful duet moment between Repiano and Soprano Cornet, allowing our soloists a brief moment of rest. Tom then opened the musical conversation once more with a stylish lyrical solo, before Adam responded with equal style in an unaccompanied, isolated, but utterly sonorous reply.

It was a work of considerable scale, where both soloists demonstrated the power of Sparke's inventive and captivating writing with technical dexterity and unbeatable musicality.

Symphony in Two Movements by Edward Gregson

The band is no stranger to this work, as it was set for the 2025 National Finals where the band came second.

Every reason why this ensemble is regarded as world-class was on full display throughout their performance of this work. Nothing is overlooked - every bar was executed with the keenest eye (and ear) for detail. It's enough to encourage you to commit to extra practice with a metronome at home!

By this point the programme had already been very hefty for the entire band, but not a shred of fatigue was shown, all the way through to the final note.

Aureum Spiriti (World Premiere)

The world premieres kept coming, this time from the pen of Jacob Vilhelm Larsen. Another blockbuster concert opener that wouldn't be out of place in the soundtrack of a film! I have been introduced to Larsen's incredible music over the last couple of years and I am a firm fan. The piece has a triumphant, adventurous and determined feel throughout with beautiful solo moments for flugel and cornet.

A brilliant world-premiere of a real feel-good work.

The Hall of Healing - Percussion Concerto (World Premiere) by Simon Dobson

When it comes to Dobson's work, we're always guaranteed something incredibly creative and engaging. In the hands (literally) of percussion virtuoso Yasuaki Fukuhara, Dobson's writing was so vividly realised, it was one of the most musically transformative experiences I have ever witnessed.

You need to believe me when I say this, dear reader, this was something that had to be seen to be believed - but I shall attempt to translate it into words.

Essentially, Fukuhara was encircled with a variety of percussion instruments, including (but not limited to): a vibraphone, drums, gongs, cymbals, tubular bells - the list goes on, which he played, sometimes utilising more than a single instrument simultaneously.

The genius of Dobson's writing extended beyond the soloist with the thoughtful accompaniment in the band, forming an effective musical partnership, without which the piece wouldn't work, but with enough content to support, but not overpower the percussive wizardry from the soloist.

Two geniuses - one a composer, one a virtuoso) came together and created something absolutely mind-blowing and offered the most incredible performance I have witnessed in my 22 years of banding.

The entire RNCM concert hall was on their feet by the end and rightly so!

Feste Romane - Ottorino Resphigi, arr. by Howard Snell

Just when you think the band couldn't possibly have any more to give after such a stamina-draining performance, they then pull out this epic showstopper to finish with! Complete with piano, organ and offstage trumpet accompaniment, this was a performance of colossal proportions.

The performance from Black Dyke Band transcended mere impressiveness, firmly establishing themselves as something truly extraordinary.

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