Tales from the Post-Brexit Wasteland

It’s two weeks since Referendum Day, and you can hardly say there’s been a drought of news. The referendum result ran in favour of leaving the European Union. There have been resignations and sackings across the board (David Cameron, Nigel Farage, and a host of Labour shadow cabinet ministers, to name a few). There’s chaos in the Conservative and Labour parties with leadership elections on the horizon and enough backstabbing and betrayal for an episode of Game of Thrones.

The pound is still dipping (hitting a record 31-year low), the markets are still suffering (the FTSE 250, being more dependent on the UK economy than the FTSE 100, is still a way off from recovery) and Osborne’s policies of economic austerity look set to get even worse; things ain’t what they used to be, that’s for sure.

But to many, these are intangible issues. What does it mean, really, for the average person when one FTSE or another fluctuates? There’s been political infighting for decades – why is now any different? What real effects does this whole question of Brexit actually have on people?

The answer, it seems, is that the referendum result has had real, disastrous consequences for many people, and it’s only been a couple of weeks. I spoke to several friends and colleagues who have already suffered in the wake of the vote, and figured I would share with you some of their stories.

This may not be immediately apparent, but some names have been changed in the interest of anonymity.


The idea for this post was first inspired by a conversation with an old friend. Pablo Thunderguns worked as an executive headhunter in the fast-growing financial technology (or FinTech) sector. He told me that business had been slowing down rapidly in the three months preceding the referendum, and that there had been ‘some strong campaigning from all the major CEOs in the space to remain [in the EU]’.

Thunderguns worked for what he describes as ‘a start-up executive search firm…like a consultancy’, specialising in recruitment and ‘bringing [in] the best and brightest people’, but when clients started putting their recruitment on hold in preparation for a possible Brexit, he started to get concerned about his own job security. His fears proved founded, as he was soon dismissed with ‘uncertainty in the market’ given as one of the reasons. Though he received another job offer from a large, global FinTech company, that was rescinded a week before he was set to start due to the company ‘[pausing] all recruitment in the UK…with some fears that another recession could be coming.’

When I asked about the personal effect the referendum vote has had on him, he told me, ‘[it] has been really interesting. I was quite upset about leaving the EU. As a young person in the UK, it is part of my identity. Also, the inclusiveness that it represents with a huge number of international friends makes me feel like I’m part of something where I don’t belong.’

‘To add to this,’ he adds to this, ‘my mother, an immigrant from [outside Europe], voted to leave the EU. I went home recently and it was weird to see her again as she is the physical embodiment of why I don’t have a job.’

It’s a sad state of affairs, and Pablo Thunderguns was far from the only person I found who had suffered career derailment from reactions to Brexit. Velveteen Panther, currently living in Paris, applied for a job with a startup working on a language-learning app. Despite getting an interview with them, she was called on the day the referendum results were announced and told that, regrettably, they would have to retract the interview.

‘They were incredibly apologetic’, she told me, ‘but said that as they were trying to build a team they needed to know they had people who were reliably going to stay in France, and could legally do so. They said that Brexit made my immigration status in the future uncertain and it put too heavy a burden on them trying to work out what visas I may or may not need in the future. For a young, vulnerable company it was too much work, and too risky.’ Panther was quick to assure me that she bore the company no ill will – ‘As I said, they were very apologetic and sympathetic, but I understand how uncertainty is a big risk for new-generation start-up businesses’ – but summed things up rather sadly for me: ‘I was out of the European jobs market by lunchtime.’

Both commented on their plans for the future, and neither expressed much of an interest in staying in a post-Brexit UK. ‘Over the past months [I] have been applying for jobs in Australia, and have a final interview next week,’ Thunderguns tells me. ‘It’s something I’ve been thinking of doing for a long time, but now there’s no excuse not to do it. No job, no flat and an economy that is going down the tube.’

Velveteen Panther’s plans, meanwhile, are less concrete but just as determined:

‘I was in France trying to improve my French in order to take up an internship with the British ambassador in the European Commission, but I guess that’s out the window now. I am looking at jobs in London and Paris but I fear that London will start to become a less advantageous market if Brexit finally occurs. I am desperate to maintain my EU citizenship so [am] very tempted to stay in France working. I worry that the situation I faced above will happen again, but as a young person keen to be part of a dynamic workforce, I would rather be in the single market than out because I know there are more opportunities there. If that means trying to naturalise as a French citizen, and giving up British citizenship, that is something I am prepared to do. I am not prepared to accept a diluted form of free movement where British workers are expected to work inside the EU without the benefit of citizenship rights and protections. There have been so many complaints of EU migrants coming over [to the UK] to work, but they are just doing it because the market here is (/was) better than in Romania or Bulgaria. I will do as they did and go to a country with a better economy and better opportunities if that is what is best for me. I feel there are many other young, educated workers who will do the same.’

This, it seems, is but the tip of the iceberg – so many people have come forward to tell me of their own experiences or those of their friends, from paid internships being cancelled due to the ‘uncertain business outlook post-Brexit’…

PLid friend edited

…to work stock options plunging in the wake of the vote…

Nigel edited

…to whole firms collapsing, resulting in mass job loss.

Loz friend edited

Research and academia, too, looks set to suffer from the referendum fallout. A friend related to me the thoughts of an academic colleague of her mother’s, who explained that they were ‘[worried] about cuts in research funding…[making] the UK less attractive for researchers and [leading] to brain drain and fewer collaborations between the UK and the European Union’ (which looks to be happening already). On top of concerns that ‘academics and students from other countries will now think twice about going to the UK’, they also pointed out that almost half of their department’s permanent academic staff hailed from EU countries. ‘What will happen to us/them? Nobody knows.’ Another friend, a university lecturer, pointed out that, although she’s not run into issues yet herself, her department ‘will only be eligible for future EU funding (which is by far the biggest pot of money for good research) if we can guarantee that the UK will allow free movement of people within the EU’ – a guarantee that, with no clear Leave plan and a frontrunner in the Conservative leadership contest straight-up refusing to rule out deportation, no-one seems willing to give.

Others in academia have had budget constraints forced upon them by the volatile markets and crashing pound. MC LeBest, a senior library assistant, told me: ‘It’s a very minor hassle, compared to say, one of my friends being subject to hate speech, but my budget at work is understandably in pounds. However, as a museum with international collections, research material often has to be sourced from overseas (usually Europe or the USA), so my budget has tanked in real terms and we can’t afford as much, so the research suffers.’

And what of those still in education, hoping for more opportunities on the horizon? Big Bad McHandsome-Mann studied at UCL until his student visa ran out, and then began to study in the Netherlands. ‘I went to [the Netherlands],’ he told me, ‘to get naturalised and gain EU access back to the UK. Guess where I’ll be staying?’

All this is to say nothing, of course, of those who have or seek jobs within or related to the European Union itself. Magenta Bjornsson is currently doing a traineeship within the EU council, and fears that she will now ‘have to accept that this 5 months is the only EU career [she will] ever have’. Foxy Foxworth, meanwhile, is working on the European Fast Stream, a government grad scheme that trains people on EU skills and aims to get them into EU institutions or a career in the UK civil service. He told me that ‘all of our career prospects are obviously now in jeopardy and there’s a huge amount of uncertainty,’ and that ‘neither of these [options] is now a long-term prospect – the vote on the 23rd effectively finished our careers in that field.’

Foxworth went on to tell me about the curious paradox a lot of those on the EFS find themselves in, wherein the most relevant work in the immediate future looks to be that which actively undermines what they’ve been working towards:

‘There will obviously be a certain amount of work to do in the next 5-10 years as we unpick ourselves from the treaties, but this will eventually come to an end and we will be left stranded – experts in something that isn’t relevant any more. As such, those of us who have been specifically trained to be the government’s EU talent have very little incentive to lend our skills to the negotiation process. There are more people talking about leaving the country entirely than there are expressing an active interest in working in the new ‘Brexit Unit’.’

Foxy finished up with what I personally feel is a fantastic summary of what he calls ‘the stages of referendum grief’.

‘When I woke up on the 24th and heard the news I just felt sick. You could probably call that phase “shock”. Since then there’s definitely been some denial (“we can’t let this happen without another referendum!”); bargaining (“what if London stayed in, and everyone else can go?”); and anger – particularly towards those politicians who promised everything would be great in the event of a vote to leave and then turned out to have no plan whatsoever…By now things have settled down a bit more. You could call it “acceptance” – but only in the sense that everything is so uncertain at the moment that we really have no choice other than to try and keep going as usual and wait and see what happens.’


There’s still much, much more to say – I have a whole host of other stories and experiences from friends and colleagues, which I will be writing up shortly. But this post is getting a little long already, so I’m going to end it here for now, having covered most of the career- and work-related issues people have talked to me about. The message is clear, though: the referendum result, whatever may be done in the future with regards to an actual Brexit, has had real, reverberating effects on people’s lives. People living in the UK and abroad have already been cut off from potential livelihoods and opportunities, and whatever else you may think of the referendum and the EU, one cannot deny that this is a rather raw deal.

Next time, I’ll be talking to people who have suffered from racism and harassment in their day-to-day lives, and about whether and how the referendum result has affected that. Stay tuned.


On Brexit and the Arts

I know. I know. You’ve had it with the constant posts about the imminent referendum on the United Kingdom’s continued membership of the EU. I have too, not least because most of the people I know are pro-Remain (as I am) so I get this weird frustration from reading and hearing lots of great pro-EU arguments and having no-one to shout them at because everyone already agrees with me.

But I learnt about the dangers of the social media echo chamber in the last general election – when Facebook was plastered with posts and videos denouncing the Tories and showing their support for Labour, the Greens, even the Lib Dems, fallen from grace as they are. It didn’t seem even vaguely plausible that the Conservatives could push for another coalition, let alone win an outright majority. And then the Conservatives won an outright majority.

Issues with our governmental and electoral systems aside (and believe me, there are plenty), what that experience taught me was how misleading it can be to make assumptions of how people will vote and think solely from the people you surround yourself with – a glaringly obvious revelation, I’m sure, but one that I’ve taken to heart. So here I am, penning a short post about Brexit in the hopes that it might reach the eyes of even one person on the fence or voting Out.

The perils of leaving the EU have been covered in great detail already, from the overwhelming support from hard-right leaning politicians such as UKIP’s Nigel Farage and France’s Marine Le Pen, to the difficulties and consequences of adopting the Swiss or Norwegian models for post-EU trade and immigration policies. So I’ll leave most of that alone. I speak from the position of a musician here (in case that wasn’t clear, in which case you probably came to wrong website, sorry) – and leaving the EU would be colossally bad for the arts.

One big reason, which several people have touched upon already (including my good friend Imogen Hancock in this lovely piece about the referendum), a large number of musicians in Britain come here from Europe. Some of the best musicians I’ve come across have come to the UK and made some brilliant music with friends and colleagues they met here. The fantastic More Ice and Honey was comprised, at its conception, of musos from France, Russia, Finland, Belgium, the Czech Republic and the UK itself. If you think a more isolationist, post-EU Britain is going to make it easier for European musicians and artists to travel here and interact and work with other like-minded people, you’re being naïve.

Furthermore, as the MU points out, it goes both ways – British musicians tour work abroad (an essential element of many musicians’ careers), and the EU’s open borders and visa-less travel have streamlined that significantly, not to mention the utility of the European Health Insurance Card, which guarantees medical assistance when travelling – over which currently hangs a big post-Brexit question mark. On top of that, health and safety and workers’ rights legislation from the EU has made musicians’ and artists’ lives significantly better, including copyright law that protects the intellectual property of artists.

And if you think that a Britain with more ‘sovereignty’ and under the benevolent eye of a Conservative government will protect the arts more than the EU has…well.

We have an education secretary who, depending on the time of day, either thinks that pupils with a grounding in the arts are ‘held back’ later in life or condescendingly purrs that the arts are crucial to an understanding of ‘Britishness’ despite (a) what the hell does that even mean, and (b) a categorical decline in arts uptake in schools.

We have a government handing down so many cuts to local council funding (including the arts) that it can’t even keep track of them and seems genuinely confused when they have consequences.

We have arts projects that rely on funding and grants from the EU – and I would be genuinely confused if we continued to receive that from outside the European Union.

Anyway. I’m probably rambling on a bit, so I’ll leave you with this Guardian article featuring several much more well-informed people chatting about the impact of Brexit on the arts. We’re a global society now, and we should be embracing that, not lusting after a bygone and worryingly imperialistic age.

The Leave and Remain camps alike have polluted this debate with misinformation and smokescreens, yes. Money goes in, money comes out. There are benefits, there are costs. The EU is a bureaucratic behemoth with plenty of its own problems, and there are few people denying that.  But voting to leave is like getting a sub-par meal at a restaurant and deciding to starve yourself to death in protest.

It’s Happy Hour!

Ah, time for the quarterly update to the old blog. But with big news!

You’ll recall the show I mentioned last time, Rock the Jazz-bah, with their jazzy arrangements of your popular songs and your Gangnam Styles and the like. Well, I’m taking that idea and running with it, in the creation of the Happy Hour Collective (Facebook here, Twitter here, website to follow soon), a collaboration of (for now) three different groups: a revamped, rebranded Martinis (a new band in all but name), the Bloody Mary Brass Band, and the Brandy Alexanders. If you fancy checking it out (hint: you do), our launch party will be at The Miller, London Bridge, on November 10th! Details here.

And that’s not all! The 29th October brings a classy jazz jam night at Big Chill Shoreditch, hosted by the ULU Jazz Society, and also me. Come on down and check it out, it should be a blast!

And that’s not all! Down for the Count are, as ever, going from strength to strength, and you can catch us at various swing gigs over the next few months, including a monthly slot at the Super Swing Pit at Bishopsgate Institute (the next one of which is on October 19th, so get those dancing shoes on). On top of that, our excellent swing festival Rhythm Junction London went off without a hitch back in September, so keep an eye out for a reprise of that puppy some time in the future.

And that’s not all! Back in August I did some recording with a fella called Paul Carella, laying down some horn stuff on a few of his tracks for his upcoming EP. Well, as well as Paul just being a top guy, we’re shooting some video this weekend, and then he’ll be launching his EP on 7th November at Twickenham Theatre. Be there!

And that’s not all! I also updated the website, including the Bands page with details of the HHC and the excellent Equinox Quintet.

…That’s all.

Catapulted into the Real World

University life now sits behind me, a sort of hazy fever-dream of sex, drugs and rock and roll gigs, coffee and the occasional bit of work, and with that I find myself chucked out the door onto the Sidewalk of Reality, like an unruly drunkard at closing time at the Pub of Life. Stripped of the warm embrace of the education system (haha?) I stumble onwards, and turn towards that one thing that’s generally guided my way in times of strife: music.

Enjoying continued work with my good friends at Down for the Count and seeking out further opportunities with The Martinis (and yes, our album is still to come – I’ve put up some samples for your aural pleasure) are the main plans, supplemented by further work as a session musician, instrumental teacher and band leader. The creation of a big band is another project, following the discovery of a DVD-R full of charts long thought lost to the abyss while clearing out my room at home (OK, Mum, being tidy does have its merits I suppose). I’m also going along to my first rehearsal with the amazingly-named King Groovy and The Horn Stars on Thursday, so that ought to be fun.

At the advice of my stalwart and talented friend Claire Waterhouse I’ve also put myself out on this Internet thing, with profiles at UK Music Jobs and StarNow, so feel free to stop by those pages if you want to give me some work/fancy a laugh. They are both in progress, so don’t be put off by any lack of photos or anything at the moment. That will be rectified.

As always, I’m always happy to hear from potential clients so don’t hesitate to get in touch through the website too.

In other news, as well as the upcoming Martinis CD, there are also new albums from both Down for the Count AND The Emily Tree to look forward to in the next couple of months! Goodness me, what lucky people you all are. If buying music and supporting local artists isn’t your thing (and if it isn’t then your morals are bad and you should feel bad), then check out some of our upcoming live performances, including The Emily Tree playing at Candied Nonsense at The Wilmington Arms in Clerkenwell on August 2nd, and Down for the Count’s next gig at Winslow Public Hall on September 8th.

Until next time, my lieblings.


Exams are over and I have a brief window of freedom before I’m tied down with rehearsals and concerts in the upcoming couple of weeks. So, I decided to pick up L.A. Noire, the new detective-’em-up from Rockstar Games. Short story: I love it, it’s great.

The facial animation technology for which people have been foaming at the mouth is…well, let’s just say it deserves the attention. It’s a key part of the gameplay too – a hefty chunk of your time is spent interviewing witnesses and suspects, and you can inspect the facial tics and tells that will betray a liar. It’s an ingenious mechanic.

What I found funny is that it’s not necessarily the type of game you’d expect from Rockstar, famous for the Grand Theft Auto titles. It’s refreshing to see games like this and Red Dead Redemption (which is arguably a Wild West GTA but still a great game, different enough in its way) coming from the studio. I loved GTA 4 but it’s nice to see a little variety.

Anyway. I’m making the most of my freedom while it lasts, because rehearsals start tomorrow for the UCL Summer Ball, followed by a smaller quintet gig, the Musical Theatre society gala and various gigs with Down for the Count.

You can see why I enjoy the time off.

End of term, and not a moment too soon

So I shut my finger in a lift door for 4 floors a few weeks ago, and typing is still weird for me as one side of it is still kind of numb. On the plus side, I…well, there isn’t really a tangible upside to it, but people laugh at the story and give me that look that implies it’s exactly the kind of thing they’d expect me to do, so there’s that I guess?

We’re a little way into the Easter holidays now, though it’s only felt like it for a few days for me – contrary to my belief up until about a week ago, 6000 words on the comedies of Aristophanes do not, in fact, write themselves. That said, setting the general essay-panic of the last couple of weeks aside, I found the whole process quite enjoyable – I kept finding interesting articles and the like that I wanted to shoehorn into my dissertation (it was technically an ‘extended essay’ but dissertation sounds as though I did more work for it), and it made me glad that I’d sent in an application to do an MA next year. Well, you don’t want to be doing something you don’t enjoy, do you? Besides that, I also found this wonderful blog that presents a…somewhat different take on a number of myths. Hysterically funny stuff.

Speaking of next year, the Bloomsbury Theatre will be in for a treat in the form of UCLU Musical Theatre Society’s Guys and Dolls in the first term, directed by a schoolfriend of mine, Nick Goodman, and with myself as MD. It’s going to be a cracking show and will probably be the first week of December or thereabouts, so keep it free! (Also keep it real.) More details as and when, but for the time being I need to brush up on my ‘waving my arms around like a loony’ skills.

I’ve been preparing for various gigs and the like coming up by shopping around to see about upgrading some of my equipment – new mutes, a clip-on bell microphone, things like that. Have to say, Dawkes seem pretty good and they come well-recommended. I’m also looking forward to finally buying a flugelhorn this summer, at long last. Any recommendations on that front will be duly noted! Oh, and money. Gifts of money.

Other exciting upcoming events:

21st MayDown for the Count bring you a fantastic live gig at Winslow Public Hall: On The Town! Celebrating a brand new recording, signing up with several new agencies and even a music video (I know right), it’s set to be a brilliant night. Get tickets from their website before they run out!

4th June – UCL-goers et al, take note: UCL Jazz Society are going to be rocking up to the Summer Ball this year. After the success of Sextetera last year, the Jazz Soc have been asked to bring along a full big band to wow the crowds this summer. Not to be missed – buy your tickets around UCL or head to this site to avoid disappointment!

There are a few other bits and bobs coming up, but I’ll keep them to myself for now to avoid jinxing them…so watch this space…

The Gatsby of Campania

I return to The Smoke tonight, having come home to finish off an essay on the Cena Trimalchionis from the Satyricon of Petronius which was driving me mad. Only 1,500 words and it ended up taking days to complete satisfactorily. I found myself asking a question usually saved for when spiralling circumstances deposit one in the gutter with a bottle of whisky (probably something embarrassing like Bell’s) in one hand: how has it come to this?

The answer is typically multi-tiered (short attention span definitely factors into it), but I’ll just go ahead and say that a big consideration is that we’re probably not getting our money’s worth at university (cue cheers of affirmation from many humanities students). I’ll make it clear, though, that – by and large – tutors themselves aren’t to blame. Plenty of my own lecturers are passionate about their chosen topic and manage to convey that excitement and interest to their students. I’ve thoroughly enjoyed the classes and taken great pleasure in reading around the subject and picking up more information on it.

Unfortunately, although that’s certainly what I had hoped to get out of university, the methods of assessment don’t really seem to want to look into that. Even at a tertiary level of education, we’re encouraged to memorise and regurgitate for exams, and to write essays according to a series of arbitrary rules that seem to me – someone with, I like to think, at least one creative bone in my body – designed to produce a set of twenty nigh-identical papers. I of course value the merits of proper citation and bibliography and the like, but in the course of research I find myself reading articles and books with a decidedly personal flair to them – first-person perspectives, narrative passages, sentence fragments and even the odd bit of slang for good measure – in exactly the manner that would get red pen scrawled over one of our essays. Are we paying those fees for something that feels alarmingly like secondary school all over again?

To put it another way – for £3,125 a year (and more for future students – but that’s a topic for another day) I get between 6 and 8 hours of lectures a week, a maximum of two (restrictive) essays a term, and plenty to complain about. Not really value for money, is it?

But enough of my whining. The new term is beginning, and that means shows and gigs coming up. We’re heading up to Bristol on the 12th February, so if you’re in the area come see a joint gig between the UCLU Jazz Society and the Bristol Uni Big Bands. Warwick Uni Big Band are also coming down to London at the beginning of March, and we have our second term Garage Theatre Workshop show towards the end of term. On top of all that, Down for the Count have a live gig in London planned at some point over the next few months, so watch this space! Or their website, that works too.

Holiday Wishes

My my my, it’s certainly been a while. And what a while it’s been. Shows, gigs and whatnot galore, and now we get to settle down, maxin’ relaxin’ all cool (b-ball shooting outside of an educational institution optional). So before I launch into the inevitable winter festivity hogwash, a brief rundown of a couple of exciting things over the last term:

– Sax and the City, the UCLU Jazz Society Bloomsbury Theatre show back in November, was marvellous. Though not the sell-out spectacular we’d hoped for, the big band, jazz choir (the artist formerly known as vocal group), small groups and soloists all performed fantastically and had a great reception from the audience. From the screaming Gonna Fly Now (as recorded by Maynard Ferguson) to the more relaxed tunes like The Way You Look Tonight, to cheesy favourites like Soul Bossa Nova (from that one movie about that guy), it all looked and sounded tight as hell. And we even got the culmination of a year and a half’s worth of Anchorman jokes with a little rendition of Afternoon Delight. Groovy times.

– Anything Goes, this term’s musical, was simply sensational. Easily the best musical of which I’ve been a part, so kudos to UCLU Musical Theatre Society for that. And for their choice of the angel Gabriel too. I had a number of people tell me afterwards that it was West End standard, and a couple who even said it was better than the 2003 run – and that one had John Barrowman, so we must’ve been good.

– I stepped in for a recording with Down for the Count a month or two ago, and recently did another gig with them (at an RAF base of all places). The CD is sounding fab, so head on over to the website and order a copy or ten! Sadly it won’t be in time for Christmas, but hey, you don’t need an excuse like that to buy it right? Right.

So, before I depart to sleep soundly, eat too much and fret over an essay on the Satyricon (which is basically about sex), I wish you all happy holidays, a merry Winter-Solstice-Festival-Of-Your-Choosing and best wishes for 2011, which I hear is going to be a pretty sweet year all things considered, though sadly bereft of those novelty new year glasses it seems.

London, City of Dreams and Stuff

“How can you be bored in London? Go for a walk! There’s always something to do, you just have to look for it.”

So a friend of mine once chastised me when I complained of occasionally having nothing to do in my first year at UCL. I of course realised shortly afterwards that he was absolutely right, and took to taking the odd moonlit stroll through the city to see bits of it I hadn’t before and narrowly avoid getting mugged. I did a lot in my first two years of university – I took in places like the British Museum in my own time, took a boat trip down the Thames and discovered delightful little shops, cafes and pubs hidden away in plain sight.

So far this year, however, I’ve found myself too busy or too exhausted to entertain that particular fancy of mine, which is a shame. With the pressures of third year kicking in on top of running a society, I find myself with relatively little free time, and what little I do have I often prefer to spend resting my aching feet rather than sending them off to discover new places. Still, maybe all I needed was a little nudge to keep my head above water – I think I shall take a walk. Well…maybe tomorrow.

The Jazz Society held its great Garage Theatre Workshop show last week, Ray!: The Abridged Version. Billed as ‘reviv[ing] the music from the Oscar® winning film Ray! by cutting out all the boring bits like plot and dialogue’, it was certainly an entertaining three nights, so to those of you who didn’t come along, shame on you. Don’t worry though, there’s a chance to redeem yourself: our big Bloomsbury Theatre show, Sax and the City, is looming at the end of November. With tickets starting as low as £4, it’s a TV and film music-filled night not to be missed. Hope to see you there.