Tag: Ollie Lambert

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The Apex Singers – Christmas with the Apex Singers – Live Review

The Yard, Manchester

Tuesday 9 December 2025

*****

Christmas magic comes early to Manchester with joyful singing and a party atmosphere

The Apex Singers. Photo Harry Proctor

On another unseasonably warm evening in early December, we packed into one of Manchester’s newest (and warmest!) venues, The Yard in the Cheetham area of Manchester, for a Christmas concert by the Apex Singers.

The support act on Tuesday was Ardú, who describe themselves as ‘Ireland’s premier a cappella vocal band.’ Their name means to raise up, inspire or elevate. Despite having a terrible journey from Dublin via Heathrow, the three women and three men of the band, singing from memory, managed to do just that in a short but compelling set.

All the arrangements were made by their music director, Ciarán Kelly, beginning with a gorgeous, intricate version of O Holy Night. The song Galileo by the Irish singer-songwriter Declan O’Rourke was an attractive ballad with a light tenor solo, the singers swaying gently and smiling at each other. The song ended with a lovely falsetto line, like fine wine.

Longing for home in Ireland inspired a gentle, lilting arrangement of the song Carrickfergus, sung in lovely, pure tones and with a superb blend of voices. The band released it during lockdown, during the ‘Famous Plague’ (as they described it), and their performance at Carrickfergus Castle featured in the Last Night of the Proms in 2021.

In their last song, Fire, the band demonstrated their versatility, singing in a more strident style to suit the nightmare of waiting for Santa to arrive, worrying about the weather. The band sang with urgency and passion, and supreme confidence. After such an excellent but short set and such a stressful journey, it was a relief to hear that the band had another gig booked for the following day, Songs from Ireland – Holiday Edition at The International Anthony Burgess Foundation in Manchester.

As the six members of Ardú left the stage, they were immediately replaced by the eight Apex Singers, although there were often only six singers on stage later in the concert. The Singers performed songs from their new album, Kvällen, which means evening in Swedish, but opened with an older song, Da Ia Da from their previous album Woven. The song was composed by the choir’s Founder and Artistic Director, Ollie Lambert. This was a lovely wordless vocalise (we were told ‘it’s a joy to listen to, but the lyrics need more work’). The piece has an attractive melody, with lovely falling harmonies.

Soprano Lydia Wonham introduced the first piece for Christmas (well, Advent), O Come O Come Emmanuel, which dates back to a Latin version, Veni, veni, Emmanuel, first sung by monks around 1,200 years ago. Apparently, Lambert bought 271 candles from Primark for the music video, but fortunately failed to set fire to the cameraman (no one wants a repeat of the cover of Pink Floyd’s 1975 album Wish You Were Here, in which the late Ronnie Rondell Jr was famously set on fire). The piece began in unison, which soon flowered into close harmony, in a stunning arrangement by Lambert that did catch fire. A Lambert original (the first one he wrote for the Singers) followed. Stopping by the Woods featured a pure-voiced tone from Wonham, a gently syncopated rhythm, and a sweet offbeat solo from George Lowe.

The cover of Kvällen by the Apex Singers

Two tracks from the new album, Kvällen, followed. Suo Gân, a Welsh lullaby, was soporific (in a good way), with beautifully poised singing from alto Issie Turner, who was new to the choir on this tour. The lower voices of the choir took up the tune in barbershop style. In complete contrast, and demonstrating the choir’s versatility, they sang the Croatian song Nevijska Kolenda in an invigorating, robust style led by tenor Douglass Lloyd, depicting a Christmas festival with bonfires (was a pyromaniac theme developing here?).

A feature of the choir is their warm-hearted and witty spoken introductions to the songs, and they were on fire (sorry) on Tuesday. Bass Elliott Maxwell-Hodkinson introduced Ye Banks and Braes, with words by no less a poet than Robert Burns, as a story about an abandoned woman who was ‘really miffed’ about being left literally holding the baby. George told us they believed an Irishman who said Wild Mountain Thyme doesn’t grow in Ireland, only to find out it’s the most prolific wild plant there!

Two highlights in the first half were: a jolly version of It’s the Most Wonderful Time of the Year, with an American-inflected solo by tenor Douglas Lloyd and virtuosic backing vocals; and The Fox with a busy, complex arrangement carried off with supreme aplomb. There were several solos in the latter song, which is over 500 years old; all the choir members felt very comfortable singing them. In the final piece of the half, the Swedish hymn, Ett barn är fött på denna dag, (A Child is Born on this Day) singers from the choral workshop earlier in the day, and members of Ardú, joined the lovely chromatic harmonies, while Lydia Wonham provided a pure coloratura soprano above.

Lydia Wonham, Nia Edwards and Douglas Lloyd. Photo Harry Proctor

The second half began with a very different version of Fairytale of New York, so well known for the distinctive vocals of Shane MacGowan and Kirsty MacColl. It was slightly startling to hear the words ‘You scumbag, you maggot’ sung so beautifully by Issie Turner; the song, in a lovely arrangement by Lambert, sounded more like a Christmas carol despite the brutal nature of the words. Michael Colman asked us if we were having a good time; we replied that we were (it was true). He thought that was ‘frankly excellent news’ (it was).

More lovely songs from the new album followed: the Catalan carol/lullaby El Noi de la Mare (The Child of the Mother), sung in a gentle waltz time. As George sang the simple tune with ardent honesty, they were surrounded by a halo of sound. The French classic Noël Nouvelet featured a jazzy arrangement that evoked Jacques Loussier‘s jazz versions of JS Bach’s music. A false ending drew some premature applause, then a very enthusiastic reaction when we realised it was safe to applaud.

Elliott Maxwell-Hodkinson, Michael Colman, Issie Turner
. Photo Harry Proctor

Another pair of songs from the new album included the Spanish lullaby A la Nanita Nana, with warmly idiomatic singing by alto Nia Edwards. There was a thrilling contrast in The Christmas Goose, a Mancunian folk song with saucy lyrics, featuring a funky bass line and solos throughout the group. Lydia Wonham commented that the song was about going to a pub and ending up with a baby: ‘we’ve all been there.’ Well, quite.

After unusual but exquisite arrangements of White Christmas and Hushabye Mountain, the choir started to get a bit giddy with the joy of singing such complicated versions so well. They decided to take a selfie, inviting us all to squeeze in (we did our best). This was Nia Edwards’ last show, so the choir gave her parting gifts, and a party atmosphere broke out on stage.

The Apex Singers at The Yard. Photo Harry Proctor

We had reached the end of the show with (appropriately) The Parting Glass, which began with a moving, contemplative duet from alto Nia Edwards and soprano Eva Jones. The final words, ‘Good night and joy be to you all’, rang true. The evening ended with an encore, a heartfelt version of Auld Lang Syne, which brought new meaning to the words that are often mumbled and forgotten when sung in other contexts.

So ended another delightful evening with the Apex Singers. It would not be easy to find another ensemble as happy to perform together. Their joyful singing and warmth washed over the audience, embracing us, and they wore their virtuosity very lightly. The atmosphere was relaxed and intimate, and they made very genial hosts. Lambert’s skilful arrangements took us around the world and to different eras, but always with his unique stamp. Christmas came early to Manchester this year.

Performers

Ardú

The Apex Singers:
Lydia Wonham, Eva Jones soprano
Nia Edwards, Issie Turner alto
Douglas Lloyd, Michael Colman tenor
George Lowe, Elliott Maxwell-Hodkinson bass

Ollie Lambert Founder & Artistic Director

This review was updated at 20.57 on 15 December 2025 to correct a few minor factual errors.

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The Apex Singers – Live Review
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The Apex Singers – Live Review

The Apex Singers performing at Waterside Arts, Sale, Manchester

Friday 24 May 2024

Waterside Arts Centre, Sale, Greater Manchester

*****

A delightful evening of gorgeous a cappella singing

The Apex Singers performing at Waterside Arts, Sale, Manchester

The Apex Singers are a Manchester-based chamber choir of eight voices, founded and directed by Ollie Lambert. Unfortunately, one of the tenors was ill at short notice so last Friday’s stunning a cappella performance at Waterside Arts Centre in Sale was given by seven singers. This meant a lot of last-minute re-arranging and rehearsing to close the gap, but it was done so seamlessly that it was impossible to tell what musical surgery had been done. The choir was helped by the fact that many of the arrangements are for smaller forces, but more importantly by the fact that all the singers are confident soloists who can easily hold a line.

One of the most striking aspects of the performance was that Lambert wasn’t in evidence on stage, but the choir was able to start each song without a conductor or even a starting note. It turned out that Lambert himself was still in control, like some benign deus ex machina from an ancient Greek drama, providing a feed into each singer’s ear with the starting note of each piece, a short click track count-in and even the name of the song to avoid accidents. Each singer was amplified, so he was also providing a well-balanced sound mix. But the singers themselves did most of the work, singing all the complex arrangements without music (although some of the arrangements have been published), listening intently to each other to create superb ensemble singing.

It’s difficult to categorise the Apex Singers, which is perhaps the point. There’s sometimes an element of the Swingle Singers in the arrangements, but Lambert tends to focus more on the folky aspects of the original songs while adding some lovely ornamentation. It’s fascinating to compare the Apex Singers’ version of The Wayfaring Stranger with the much more florid version by The Swingle Singers:

The Wayfaring Stranger performed by The Apex Singers
Poor Wayfaring Stranger performed by The Swingle Singers

Lambert’s arrangements retain the songs’ emotional honesty and directness, while tickling the intellect with their imagination and musicality. The singers tread a course between a classical chamber choir and folksingers, limiting the amount of vibrato in each voice and not venturing into historically informed folk performance, creating a thoroughly engaging listen.

Most of the songs came from the choir’s first two studio albums, Hiraeth (2020) and Stravaig (2022), although there were a few tasters from the Singers’ forthcoming album Woven, the first of entirely original compositions. The choir’s aim is to bring lesser-known repertoire to the public, which they certainly achieve, but highlights from the first half included a gorgeously chromatic arrangement of Scarborough Fair, opening with a honey-voiced solo from tenor Matthew Burns. There was beautiful close harmony in The Banks of The Roses, and an amusing debate after the song as whether the Scottish or Irish version of the song had more bloodshed! In Down to the River to Pray, Katie Emanuel revealed a soulful voice with a gospel tinge. The first half ended with a moving sequence, starting with a new composition, Hollow, a collaboration between Lambert and alto Niamh Feeney drawn from their shared experience of sadly losing grandparents. This was followed by the contemplative, folky Twenty Bold Mariners. The final song was another new piece by Lambert, Da la Da, a song without words using phonics only. The Singers were joined for this by several singers from the audience who had taken part in a workshop earlier that day. The soprano Lydia Wonham introduced it as a piece for ‘dancing in a meadow’. The new song had a lovely, lilting falling melody and chromatic harmony, making it a perfect fit for the folk song arrangements we heard earlier.

The second half began with a lively version of Leaving of Liverpool with an appealing solo from George Lowe. At one point the singers sang in unison which was an almost visceral shock after hearing their voices weave around each other. The singers also began to relax more in the second half, chatting to the audience and with each other, talking about fish and chips and asking if anyone was from Urmston. It became increasingly difficult to pick out highlights from the 10-song set. But of particular note was the French Love Song Montagne Que Tu Es Haute sung in immaculate French by the four sopranos and altos, passing the melody around, with achingly beautiful harmonies, and – appropriately – a touch of the French composer Francis Poulenc. The next song Homeward Bound – the first arrangement Lambert completed for the choir – had a touch of the English composers of the choral tradition such as Vaughan Williams. The choir ably negotiated the twisting harmonies and key changes, remaining in perfect tune. A new version of Golden Slumbers featured a looping technique. The perfect loop has to be recorded, via the mixing desk, so the singers can accompany themselves – even the slightest glitch can ruin the loop. Apparently, it took three attempts to create a loop in Lancaster earlier in the week, but this time it passed without incident, turning voices into electronic instruments. The set ended with an elegiac farewell, the poignant song The Parting Glass leaving us with a pensive final chord. Fortunately there was a very ‘unexpected’ encore, a jolly version of The Rambling Rover which brought enthusiastic applause. The only slight disappointment was that the venue wasn’t full – the choir deserve to be playing to packed houses. They deliver Lambert’s attractive arrangements of memorable melodies with excellent choral ensemble work, warmth and chemistry between the singers, lovely solos and an engaging sense of humour. This was a delightful evening, the end of their latest tour – hopefully we will get to hear them performing live again soon.

Performers

Lydia Wonham, soprano

Sophie Proctor, soprano

Katie Emanuel, alto

Niamh Feeney, alto

Matthew Burns, tenor

George Lowe, bass

Elliot Maxwell-Hodkinson, bass

Ollie Lambert, founder, artistic director and arranger