The Spooky Mens Chorale tickets

The Spooky Men's Chorale Tickets

The Spooky Mens Chorale tickets
The Spooky Men's Chorale Fan Reviews (32) 4.9
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"Just incredible!!!"
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The Spooky Men’s Chorale, St Mary's Church, Nottingham - 15th July 2017

It was soooooo good! They’re amazing & we wouldn’t hesitate to see them again!

Posted by Helen Anthony on 12/11/2017

"Brilliant"
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The Spooky Men’s Chorale, St Mary's Church, Nottingham - 15th July 2017

Have been a fan of the spooky men for a few years, such an amazing sound and always entertaining. Would definitely recommend.

Posted by Dennis on 23/07/2017

"Definitely different + a wonderful sound!"
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The Spooky Men’s Chorale, St Mary's Church, Nottingham - 15th July 2017

An excellent combination of the irreverent, amusing, sensitive and beautiful. Whatever they sang the sound was glorious. I have booked for one of their workshops!

Posted anonymously on 20/07/2017

"Fabulous evening of witty choral singing"
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The Spooky Men’s Chorale, St Mary's Church, Nottingham - 15th July 2017

Lovely venue (beautiful church) which is an ideal setting for their a Capella performance. Their leader gave an amusing introduction to each of their mostly self penned ( I assume) songs e.g. We are not a men's group. The group mingled with the audience at the interval and after the performance. The final song Leonard Cohen's 'Dance me to the end of love'. The group then encouraged the audience to dance with their partners and lead by example! A fabulous evening of excellent choral singing with a generally comic twist. The church volunteers provided non alcoholic refreshments at extremely reasonable prices. The groups tour continues till the autumn. Well worth checking out.we would certainly go again.

Posted by CmarkS on 19/07/2017

"fabulous evening"
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The Spooky Men’s Chorale, St Mary's Church, Nottingham - 15th July 2017

Wonderful evening of beautiful singing and lots of comedy, the Spooky Men's chorale are unique!!

Posted anonymously on 17/07/2017

The Spooky Men’s Chorale is a vast, rumbling, steam powered and black clad vocal behemoth, seemingly accidentally capable of rendering audiences moist eyed with mute appreciation or haplessly gurgling with merriment. Based on the twin pillars of grand foolishness and the quest for the perfect subwoofer-rattling boofchord, the Spooky Men seek to commentate on the absurdity and grandeur of the modern male armed only with their voices, a sly collection of hats and facial hair, and a twinkle in the eye.
Formed in the Blue Mountains of NSW in 2001 by Christchurch-born ‘spookmeister’ Stephen Taberner, the Spooky Men soon attracted attention with a judicious combination of Georgian table songs, pindrop beautiful ballads, highly inappropriate covers, and immaculate man anthems like ‘Don’t stand between a man and his tool’, all of which amounted to a manifesto for the new breed of man: happily suspended between thug and wimp.
The Spooky Men attracted wider attention at the National Folk Festival in Canberra 2004, which led to the first of six tours to the UK in 2006. Standout appearances amongst their 500+ gigs since have included (in Australia) WOMADelaide, The Great Escape Festival, Woodford, Cobargo, Port Fairy, Blue Mountains and Bellingen festivals. ABC TV appearances include The Mix, Spicks and Specks, and The New Inventors Grand Final.
In the UK/Europe they have appeared at major festivals including Tonder (Denmark), Malmo (Sweden), Cambridge, Broadstairs, Wickham, Camp Bestival, Towersey, Shrewsbury, and Edinburgh Fringe. Theatrical venues have included Union Chapel (London), St David’s Hall (Cardiff), The Philharmonic (Liverpool), Colston Hall (Bristol), the Sheldonian (Oxford) and Sage Gateshead.
The Spooky Men have recorded six CDs: Tooled Up (2004), Stop Scratching It (2007), Deep (2009), Big (2011), The Spooky Man in History (2013), and Warm (2015).
In live performance, the Spooky Men draw on a combination of musical and theatrical values that are elusive and multifarious. Notable themes and antecedents include Georgian male polyphony, a running joke on man as a vast, oblivious useless object, whispers of clown, bouffon and Monty Python, and forays into massively pleasurable grunting tribalism. The audience are invited to first joyously endure a wall of mansound, then laugh stupidly, then venture into areas of great tenderness. It is ideally not so much comedic as hilarious, not so much shimmeringly perfect as pleasingly and deeply human.

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