Written by 
Soweto Kinch by Mark Allan
The orchestral premier of Soundtrack to the Apocalypse, the final part of Soweto’s Kinch astounding trilogy was truly something to behold. Six years ago, the important partnership of the London Symphony Orchestra and Soweto Kinch has since gifted audiences with projects that are powerful, important and inspiring and tonight at the Barbican, they did not disappoint.
The Black Peril (2019) and White Juju (2021) were not originally planned as part of a trilogy, but the development to include those two works with the new Soundtrack to the Apocalypse, has given Soweto the space to give voices to these powerful and essential moments in time. The Black Peril spoke to the 1919 race riots, White Juju explored the societal mindset during lockdown and this final, masterpiece – and it is a masterpiece – looks forward and asks where we are heading and why.
The Barbican was the perfect setting with a full house filled with the hustle and bustle of excitement while the orchestra began their tuning ritual. To the musicians, it is an important, but practical task – they are merely tuning their instruments and warming up, but to the audience, it prepares us and informs us there is something magical about to happen. Conductor Ben Palmer, who among many other projects, is a specialist in conducting live to picture, having worked with John Williams and Hans Zimmer, arrives to applause, followed by Soweto Kinch and his trio – Louis Hamilton-Ford (drums) Rick Simpson (Piano) and Josh Vadiveloo (Bass). The placement on the stage shows separation yet togetherness, jazz trio stage left, orchestra filling the stage and Soweto in the middle, but ultimately everyone as one. Those elements are present throughout the night, those voices we disagree with, the injustices, the pain and hurt throughout society, partnered with community, lifted hearts and spirits and resilience – true community.
The Greek roots of the word Apocalypse, as Soweto points out, means to unveil or uncover, not necessarily the end of the world dynamic we associate with the word and this is exactly what Soweto does through the night, he presents powerful themes, sometimes loud, sometimes uncomfortable, always reflective but vital conversations we all need to have.
Photo Mark Allan
The opening movement ‘Coming Together’ set the scene blending the serenity and lush drama of the orchestra with the groove of Soweto and his trio. The next movement ‘The Day After Tomorrow’ brought the brilliant vocalist Francis Mott on to the stage and the journey truly begins. The diversity and depth of layers presented throughout the night was emotional. We are taken on a journey of questions and outrage, with the screens, either side of the stage, alive with images of Donald Trump, Elon Musk, the global fires of wars, global riots, AI and so much hate filled imagery, it was shocking and heart breaking but oh so very necessary to see the truth displayed in this way. The music lifts us up, drops us down, angers us, thrills us and importantly inspires us to rise above as one. The whole palette of emotions is felt. Soweto’s masterful combination of composition and improvisation gifts us with an incredible mirroring of the society we are all part of. There are moments of celebration, and he does indeed tell the audience to get up off the seats and dance if they feel they want too. But these moments are more layered than just grooving along to the music. It is about human connectivity, truth telling and being seen and heard, which is at the heart of Soweto’s work.
‘If there is one thing I hope listeners take from Soundtrack to the Apocalypse, it’s courage. Not a theatrical or costume version of courage, but real courage – the kind that makes it possible to tell the truth even when it’s uncomfortable. I hope people feel less alone in whatever they may be wrestling with. I hope they feel energised. And I hope the music offers some form of catharsis – not escape from reality, but a way of processing it together.‘ Soweto Kinch
London Symphony Orchestra website
Last modified: December 3, 2025
