Tim speaks to wunder cellist Sheku Kanneh-Mason about sibling dynamics, touring in the States and his new album Song. But before all that, Sam gets stuck in a Groundhog Day-inspired time loop while trying to analyse one of the pieces from Sheku’s album: the 12 Variations on ’Ein Mädchen oder Weibchen‘ by Ludwig van Beethoven.

Sam is back in the interview seat chatting to conductor, producer and arranger Jules Buckley about his upcoming Aretha Franklin Prom with singer-songwriter Sheléa. They talk about he art of arranging, the unquestionable genius of Franklin and Buckley’s relationship with the Proms.

Sam chats to one of his mega heroes, the composer and broadcaster Howard Goodall. Together they discuss awards ceremonies, Howard’s pandemic piece Never to Forget, the mixed field of composition and, of course, working with Rowan Atkinson.

A short time ago in a South London bedroom not so far away … CLASSICAL POD. Sam finds new ways of listening, via the early work of John (Coolidge) Adams. He analyses the US composer’s 1973 work for chamber ensemble and tape Christian Zeal and Activity. Meanwhile, Tim quizzes Sam on City of Culture 2025 Bradford, not before a quick pit stop at Iceland’s world-famous Phallological Museum.

Sam chats to Professor and International Chair of Music Education at the Royal Northern College of Music Nate Holder about decolonising the music curriculum – what it means, and what it practically involves – as well as questioning what the goals of music education should be.

Sam and Tim emerge from their winter hibernation for a special episode celebrating the musical culture of Ukraine. Six Ukrainian composers and performers share their favourite Ukrainian-composed music, while Sam takes a sideways look at Valentin Silvestrov’s delicate piece for synthesiser, piano and strings The Messenger. Big thanks to Antonii Baryshevsky, Anna Fedorova, Pavel Gintov, Victoria Loukianetz, Ivan Nebesnyy and Ludmilla Yurina.

This Christmas, to celebrate 50 years since Jesus Christ Superstar first opened on Broadway, we’ve dedicated an entire episode to unwrapping its magic. What is it about the rock opera that makes it, as one Times critic wrote, ‘the one masterpiece of Lloyd Webber’s career’? Why, after five decades, does it still give pause for theological thought? And how can one piece of music connect such disparate-seeming artists as Dmitri Shostakovich, Googoosh, Lin Mannuel Maranda, and Kanye West? Featuring interviews with Sirs Tim Rice and Karl Jenkins, Alain Boublil, Peaches and Nico Muhly, this is … The Jesus Christ Superspecial.

NuqneH! In this week’s episode Sam has a good old podcast chat with the founding members of Manchester Collective, Rakhi Singh and Adam Szabo. They discuss unusual programming and widely sourced inspirations – as well as the range of skills a modern musician needs. Qapla'!

Against all the odds, the boys were invited backstage to the Ivors Composer Awards. Tune in to hear them try almost too hard to brand themselves the Ant and Dec of the classical music world. Also – the late, great Victoria Wood in this week’s analysis of Franz Schmidt’s Fourth Symphony, not before some flagrant Handelian recycling.

It’s the 50th episode of the Classical Music Pod! We struck gold with today’s guest, composer and bandleader Cassie Kinoshi, who previews her upcoming Aurora Orchestra commission, Three Suns Suite, and discusses how labels and preconceptions can be limiting for musicians.