DOUBLE VEE CONCERTS bepaalt zelf wie de kaartjes verkoopt aan het publiek. Dat geldt ook voor de clubs, theaters en festivals waar deze artiesten optreden. KOOP ALLEEN CONCERTKAARTEN VOOR DE OP DEZE SITE AANGEGEVEN CONCERTEN BIJ DE VERTROUWDE VOORVERKOOPADRESSEN OF CHECK MET DE ORGANISATOR. DOUBLE VEE CONCERTS betreurt de zwarthandel, woekerhandel en heeft ook geen eigen of vermomde "secondary ticketing", en doet als bekend ook principieel geen zaken met zgn "secondary ticketvendors". Wij doen een beroep op het publiek om die handel ook niet te steunen. Klachten over dit soort handel in kaarten met de artiesten die wij vertegenwoordigen gaan rechtstreeks naar de Tweede Kamer fractie van de SP.

Penguin Cafe

Penguin Cafe


If anyone doubts the mysterious power of music to take on a life of its own, they should type the title Music for a Found Harmonium into the iTunes library. More than 30 versions of this vivacious little melody, other than the original, are available by folk, country and bluegrass groups. Sometimes it is credited as ‘trad/anon’. And that’s before considering its appearances on television and in film – from Napoleon Dynamite to It’s All Gone Pete Tong via Michael Moore’s Capitalism: A Love Story. Not bad for a tune that emerged without fanfare in 1984 on a small British record label.

American sociologists talk about musical ‘ear worms’, and Simon Jeffes – creator of the Penguin Cafe – was the master. His tunes, on first hearing, can appear deceptively slight, but they have an internal balance and detail that have helped them burrow deep into the culture: tunes such as Perpetuum Mobile, a BBC continuity staple, or Telephone and Rubber Band, Jeffes’s gift to mobile phone advertisers. ‘There is a quiet generosity to the music that lends itself to different contexts’, says Jeffes’s son Arthur; ‘It does not stamp up and down.’

The group began life in 1972 after Simon Jeffes became disillusioned with the rigidities of classical music and the limitations of rock. As Arthur puts it: ‘He had a dream in which people were living isolated lives in soulless buildings, staring silently at screens. But you could reject this way of living, and down the road was this shambolic building with lots of lights and sounds of cheerful chaos coming out of it. And this was the Penguin Cafe. It had long tables, a bar, and at the back there was always a band playing, and this was the music that my father started writing.’

As Jeffes gathered collaborators, the group recorded intermittently and made increasingly successful tours. They were beloved in Japan, were regulars at the Royal Festival Hall and dropped in on Glastonbury. The music was defiantly unclassifiable – a 16th-century melody might gel with Venezuelan folk (Giles Farnaby’s Dream) or English pastoral with boogie-woogie (Scherzo and Trio); the sound of a telephone engaged signal might inspire Jeffes; so might two dripping taps.

Still Life at the Penguin Cafewas commissioned by the Royal Ballet and became a repertory hit. Ultimately. Jeffes achieved what few composers manage – creating a musical world and language that were entirely of their own. But after recording six studio albums, the group came to a tragic halt when its creator became ill. A brain tumour was diagnosed and Simon Jeffes died in 1997; he was 48. The ensemble appearing now represents a remarkable rebirth. A decade on from Jeffes’ death, three reunion concerts were held at the Union Chapel in North London in December 2007. This time the group was joined by Arthur Jeffes, who had finished his archaeology and anthropology degree at Cambridge and was composing soundtrack music and record producing. ‘It was brilliant; it was such a joy to hear the music being played live and the response was amazing’, Arthur recalls.

In 2009 Arthur brought together a fresh group of musicians, ranging from luminaries from The Royal College of Music to members of bands such as Suede and Gorillaz to perform his father’s music, together with new compositions of his own.  Their first engagement was an invitation from Teenage Cancer Trust (a charity with which the group is very involved) to film a performance in the Royal Albert Hall.  This set down the group’s sometimes radical re-workings of the music of Simon Jeffes, while introducing Arthur as a composer in his own right.  They toured to festivals such as The Big Chill, Edinburgh Festival and Bestival alongside a string of special concerts in Italy, Spain, Ireland and across Britain. 2010 was largely spent preparing and producing the group’s first official album A Matter Of Life…, which has now been released on the Penguin Cafe label, but they took time to play The Proms at the Royal Albert Hall.  Last year they completed a 21-date UK tour that took them to festivals across the summer, before touring Australia and Japan.