The Proms turns patriotic: ‘We need to celebrate everything that's good about this country'

Around the turn of the millennium, celebrity oenophile Oz Clarke was on stage at the Royal Albert Hall for a Proms interval feature in which he suggested wine pairings for pieces of classical music. One of those working behind the scenes was 19-year-old Sam Jackson, who was dispatched to the nearest Waitrose with 'an envelope of used fivers' to select a few choice vintages for the segment. Jackson, who had never been to the Proms before, also knew nothing about wine.
'I stood there thinking, 'how do I tell people that I don't know what I'm doing here?' I think pints of Carling were about the limit of my alcoholic palette,' Jackson recalls. 'Obviously I picked some wine and came back, and that was that. And then I thought, 'How am I fortunate enough to be doing work experience at the Proms and be allowed in?' '
Now, more than two decades later, the 41-year-old controller of BBC Radio 3 is not just allowed into the Proms but, as of this year, he runs it; today, following the departure of Proms controller David Pickard last year, Jackson launches his first season in charge of the world's biggest classical music festival.
'Good grief, 19-year-old me would look and just find the whole thing, frankly, bemusing,' he says. 'The idea that this is what I would be doing today.'
Alas, there is to be no return for Clarke and his wine pairings. 'I mean, it sounds tenuous now, it was tenuous then,' says Jackson. 'I'm sure it was a fun interval feature, though.'
Sequestered in a small, windowless meeting room at BBC Broadcasting House, Jackson gives me a cheerful greeting — 'Welcome to the cupboard!' — and a cup of tea. Jackson joined the Corporation in 2023, so has had involvement in previous Proms programming, but this is the first time it is 'his' season.
As well as excitement, there are nerves. 'You just don't want to break it. There's that kind of 'Ming vase' mentality, because this is a festival that's been going for well over 100 years,' Jackson says. 'At the same time, I'm not paid simply to tread water with the Proms. We need bold new ideas.'
Among the eye-catching Proms he has programmed are a performance of Shostakovich's epic opera, Lady Macbeth of Mtsensk, only the second time it has been staged at the festival; the first all-night concert at the Albert Hall (running from 11pm-7am) since 1983; and a Prom with music inspired by The Traitors — complete with the BBC Singers (threatened with the axe two years ago) wearing cloaks. Some 70 artists are making their Proms debuts this year, including Japanese superstar pianist Hayato Sumino, Joe Hisaishi, the Japanese composer, and indie darling St Vincent.
Returning Proms stars include the likes of conductor Simon Rattle, pianist András Schiff and Louise Alder, the soprano. There are 21 international ensembles slated to perform — including the Vienna Philharmonic and the Leipzig Gewandhaus Orchestra — but, notably, none from America. Jackson says the cost of bringing orchestras across the Atlantic for a single concert is not 'a good use of licence fee payers' money', but hints that there may be 'a slightly more American tinge' next year, as the country marks the 250th anniversary of the Declaration of Independence.
Jackson says he is determined to not just settle for the status quo. 'Because on one level, you could programme a season that was very inoffensive, very middle of the road — nobody would dislike it. But actually, we're here to take risks.'
It was a desire to do something different in 2020 that plunged the Proms into one of its biggest recent crises. It was leaked that the BBC planned to drop the lyrics from two staples of the Last Night — Rule, Britannia! and Land of Hope and Glory — apparently because of their colonial overtones. Following a swift outcry, including an intervention from then-Prime Minister Boris Johnson and thousands of complaints, the BBC was forced to backtrack. The songs have been part of the Last Night ever since and that remains the same under Jackson.
Did it take him long to decide whether to keep the usual fixtures of the Last Night in the programme. 'No, and I'm not in any way trying to duck your question, but I think that's above my pay grade. In the end, if the BBC decided to not have Rule Britannia! in, it wouldn't be a unilateral decision by anybody in a job like mine,' he says. 'I'm really mindful that the Last Night of the Proms, for many people, is their only experience of classical music in a year. We have, what, three-and-a-half million people watching it on BBC One, and it stands for something for a lot of people.
'The world's a scary place at the moment, and there's an awful lot of change going on around us, and I know that for a lot of people, it's really important to be able to to celebrate everything that is good in this country,' he adds. 'Now, people's definitions of what that is vary greatly. And what I really wish, is that when we have this conversation, it could just be done with respect. It's okay that people feel differently.'
Ultimately, he says that making everybody happy with the Last Night is 'a need that can never quite be met because of the all-embracing nature of who we're trying to reach'. But there will be additions to it, not least because Jackson says the 'final section has been exactly the same for a very long time'. Rachel Portman, the Brit who was the first woman to win a Best Original Score Oscar, has been commissioned to write a new piece, Gatherings, to be played before the usual favourites.
Though it is a thorny issue, always sure to inflame one side or another in the culture wars, Jackson relishes the debate. 'The moment that stops is the moment people stop caring. And we need people to care about what we do. We need people to pay their licence fee. As we head towards the end of our current Royal Charter, we need people to say, without the BBC we wouldn't have the Proms.'
If anything, Jackson appears to be doubling down on the patriotism of the Proms. This year, for the first time, the will be a 'Great British classical' concert, celebrating Elgar's Enigma Variations and The Lark Ascending by Ralph Vaughan Williams, as well as lesser-known works by Brits such as Avril Coleridge-Taylor (daughter of Samuel) and William Matthias, plus a new commission from John Rutter. It seems almost tailor-made for lots of flag waving. 'I think people should feel free to respond to any Prom in the way that they want. And I think if people end up coming along waving flags, so long as they fit within the Royal Albert Hall rules about how big your flag is, I would say brilliant, because that's people responding to the music.'
Some 72 of the 86 concerts take place at the Hall — with the others in Bradford, Bristol, Belfast, Gateshead and Sunderland — but most people will experience them at home. Each Prom will be broadcast on Radio 3, with 25 to be shown on television — including nine on BBC One and Two, the highest for 'a very, very long time'. Jackson prioritised trying to get more concerts on the mainstream channels because 'if we get it right, that's a million more people who will see that and will experience the Proms for themselves'.
As for the concert based on The Traitors which will see the hit-show's host, Claudia Winkleman, make her Proms debut, Jackson acknowledges that he could be accused of gimmickry. 'There is always a certain section of the commentariat who will immediately jump on something like that and say that it's not what we should be doing'. But he is unapologetic.
'I'm certainly not in defensive mode over it, because I don't think there's anything to defend. I think this is about taking a TV programme, the final of which has been seen by 10 million people and counting, a theme which fits classical music like a glove,' he says. 'It's about treachery and betrayal: that's Puccini operas, that's Romeo and Juliet by Prokofiev, that's all manner of different classical works, and that we know works brilliantly for telly and is a route into orchestral music for people… That all feels very 'Proms' to me, because we're not diluting what the Proms is.'
Jackson grew up in Milford, Surrey, and credits a 'really bohemian piano teacher' with getting him into music. He went on to read music at York University before joining Classic FM, rising all the way up to managing editor, before a stint at Universal Music Group's classical division.
The Radio 3 controller, who is paid a salary of up to £194,999, has faced accusations from some quarters that he is 'dumbing down' the station. Does it annoy him when critics say that? 'Oh of course I get annoyed! I just think it's such a lazy assertion,' he says. 'That does not stand up to scrutiny.' Over the Easter weekend, he points out, Radio 3 broadcast Rattle conducting the Bavarian Radio Symphony Orchestra in Bach's St Matthew Passion, live music from the island of Iona and choral evensong from Newcastle Cathedral. Plus, there is a 40-part series on modernism and a celebration of 30 years of Private Passions.
'I look at all of that, and I think, 'Well, Classic FM wouldn't do any of that.' And I'm not criticising them for it. That's not what they do. That's what we should be doing,' he says. 'Now, I would also say those people, who when they make those comments, are inferring that somehow it's wrong for Radio 3 to play music that people might like, I would also challenge that assertion. We are allowed to play Mozart and Bach. Nobody has the exclusive on that.'

Try Our AI Features

Explore what Daily8 AI can do for you:

Learn with AIFact CheckingText to SpeechAI Summary

Related Articles

Time Out

2 hours ago

• Time Out

Leave Me Alone

Located at the edge of trendy Shimokitazawa, Leave Me Alone is a space of esoteric contradiction. The softly lit venue is sparsely yet tastefully decorated, with a custom smiling flower portrait from the iconic Takashi Murakami, plus dolls created by Mr., the noted Kaikai Kiki artist. The venue is the latest venture from corporate-bigwig-turned-bar-owner Hirohisa Tamonoki. The forty-something former tech VIP from Akita prefecture opened the bar at the end of 2024, finally fulfilling 'a dream he'd left behind' after decades in the corporate world. A self-proclaimed introvert, Tamonoki aimed to create a space for people like himself who never quite fit in. He also wants to attract individuals with a passion for the music genre that reigns supreme at his bar: noise. From the disorienting percussive sounds of Japanese noise legend Merzbow to the abrasive vocals of American experimental rock band Swans, you'll get your fill of sonic brutality through track after track of harsh noise, industrial noise, noise rock and so on. The harshness of the bar's soundtrack is in contrast to the intimate nature of the space, but somehow it works. 'It's not for everybody,' says Tamonoki. 'But if you get it, you get it.' The bar's drink options are less eclectic (but no less tasty), and feature various kinds of whiskey and gin – think classics like Hakushu, Hibiki, Sakurao and Kanomori. A speciality cocktail menu is in the works and currently features mezcal negronis and seasonal fruit gin and tonics. Invitations to Leave Me Alone are strictly through DM only. If noise music is your thing and you're thinking of stopping by, request the location by contacting the bar via Instagram @leave_me_alone_bar.

Edinburgh Live

9 hours ago

• Edinburgh Live

Two top Edinburgh eateries crowned 'Scotland's Best' at Street Food Awards

Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Two popular Edinburgh eateries were crowned during this year's Scottish Street Food Awards, highlighting the capital's many trailblazing and standard-setting street food restaurants. The winners were announced on Sunday (June 22) with Smoked Tomago coming away with the coveted Scottish Street Food Award Champion prize. Originally from Hong Kong, Smoked Tomago specialises in traditional Japanese tamogoyaki, or rolled omelettes. They also offer other authentic Japanese and Korean food. The pop-up eatery serves food every Tuesday in Edinburgh at the Leith Walk Police Box. Another Edinburgh favourite, Fire Bowl, also left the awards with a prize after earning the People's Choice award. Fire Bowl cooks up donburi and the venture launched after its two founders Euan and Andie traveled around South Korea and Japan for three months trying street food. They wanted to bring home the cuisine and add a traditional Scottish twist. The awards were hosted at The Pitt Market, which hosts a cluster of street food stalls in Granton. On The Pitt's Instagram, a post read: "It's been a blowout weekend full of great food (and strong winds), but we've had an amazing time hosting some incredible culinary talent here at The Pitt! Congratulations to our incredible winners, and thank you to all the lovely vendors who it's been a pleasure to host. According to the Pitt's blodg, the awards were selected by a judging panel of Sam Yorke – Head Chef at the Michelin-starred Heron, Jo Laidlaw – The List Edinburgh Food & Drink Editor, Callum Easter – Artist and Musician, Gaby Soutar – The Scotsman Restaurant Reviewer, Navida Galbraith – The Pitt Head of Ops and Programme, and Richard Johnson – Founder of the British Street Food Awards. Join Edinburgh Live's Whatsapp Community her eand get the latest news sent straight to your messages.

The Herald Scotland

19 hours ago

• The Herald Scotland

When time finally ran out for the Glasgow Apollo, forty years ago

The venue's peak came during the Seventies and for those of us who were there then, it, and the countless gigs we saw there, remain among the defining images of that decade. Alongside, perhaps, the Old Grey Whistle Test, John Peel's cult radio shows, and enthusiastic reading of the music weeklies – Sounds, NME, Melody Maker for news of the latest vinyl and tour dates. Not to mention, of course, the music of the time, whether it was punk and new wave, the Eagles, the Rolling Stones (below), prog, glam, reggae, heavy metal or soul. The Apollo memories are quite imperishable. The Rolling Stones were one of the biggest acts at the Apollo Many of the bands that played the venue are, like the Apollo itself, no more, having broken up for one reason or another: 'musical differences', frustration over a lack of success, a desire to follow individual dreams. But a gratifying number of groups are still thriving today: Neil Young, the Stones, the Cure, Status Quo, Rod Stewart, Iron Maiden, Deep Purple, Robert Plant, the Rezillos, Robin Trower, AC/DC, Rod Stewart, Alice Cooper, Eric Clapton, Hawkwind, Jethro Tull, Jackson Browne, Van Morrison. Santana, too. Led by Carlos Santana, who turns 78 next month, they entertained the OVO Hydro just a few nights ago, nearly half a century after their last appearance in Renfield Street. And then there's Paul Weller, of course; it was his old band, The Style Council, who brought the curtain down on the Apollo on Sunday, June 16, 1985. Time has been busy catching up with other Apollo acts. Black Sabbath, who played Green's Playhouse, the Apollo's forerunner, as long ago as 1970, are bowing out with a huge farewell gig at Birmingham's Villa Park on July 5. That same night, a few miles away elsewhere in the city, Jeff Lynne's ELO will play the first of five last-ever concerts – two in Birmingham, two in Manchester, and one in London's Hyde Park. Elkie Brooks, who experienced the Apollo on a handful of occasions in the latter years of its existence, is on a Long Farewell Tour. In August, The Who will embark on their North America Farewell Tour. To look through the comprehensive gig listings curated by the people behind the excellent Glasgow Apollo website is to be reminded the astonishing wealth of gigs that took place there, across so many genres. Read more: The names of some of the acts – Renaissance, Rare Bird, drummer Ginger Baker's group Baker-Gurvitz Army, the all-female US rockers Fanny, Gentle Giant, Kokomo, Glencoe, Golden ('Radar Love') Earring, the Groundhogs, Traffic, Japan's Sadistic Mika Group – are familiar to fans of a certain vintage today. Less familiar, possibly, are Tea, who supported Baker Gurvitz Army in 1975; Dave and the Mistakes, who opened for Elvis Costello and the Attractions in 1981; and Sandii & the Sunsetz, another Japanese group, who were the support act for (of course) Japan in 1982. It's interesting to look back at the music weeklies and see what they made of certain concerts. Here's a small but vibrant selection: * 'Heat, dust, smoke, lasers and Genesis combined to turn the Glasgow Apollo into a replica of Dante's Inferno when the band descended on the city on Friday night' – Melody Maker, July 1976. * 'Rory G[allagher] made it however, and played an undeniably proficient over two-hour set to the most rapturous reception I've seen in ages. The audience was crazy, drunken, happy, and collectively about as intelligent as the average tree-stump: in short, all the jolly working-class virtues that made me leave Glasgow in the first place' – Sounds, April 1978. * 'Fred Turner [of Bachman Turner Overdrive] is a real sweathog of a bass player. Whether he's hungrily engulfing chip sandwiches in a Glasgow hotel under the lights of a documentary film crew, or bouncing all over the Apollo stage until the lighting towers begin to develop major instabilities, you gotta admit the dude is, like, heavy, man. He ought to do a seesaw act with Leslie West' – NME, May 1975. Lynyrd Skynyrd were a hugely popular attraction at the venue (Image: Unknown) * 'As a unit [Lynyrd Skynyrd, above] peaked with 'Tuesday's Gone', which took on a church atmosphere – in Glasgow the audience even started the Terrace Sway.... In Glasgow, the entire audience sang 'Free Bird' in its entirety. That's freaky (good-freaky), 3,000 people singing homage to a guitarist [Duane Allman] they've never seen' – Sounds, February 1976. * 'Backstage at the Apollo the theatre photographer is taking a group shot of the Rolling Stones receiving their trophies earned by selling out the three shows there. 'More ANIMATION pleeeze,' Jagger shouts good naturedly to the nervous photographer. 'When the Faces played here they could only afford one trophy', Woody [Ron Wood] informs the gathering, 'so we gave it to Tetsu [Yamauchi] to make him feel wanted'. Tonight each band member gets their own special souvenir. Just another memory. Keith gives his to Marlon [his son]' – Sounds, April 1976. * 'For Scotland, the Pretender changed tactics. Wearing a tartan wool scarf, he concentrated on rock 'n' roll. It was such good rock that it made me think maybe the Eagles aren't the best American rock 'n' roll band. Maybe the best American rock 'n' roll band is Jackson Browne ... Browne's initial self-centred introspection gently fades away. The Glasgow Apollo was cold, and Jackson Browne wanted to warm the place up with some powerfully generated rock. I almost thought he'd do 'Whole Lotta Shakin'' – Sounds, December 1976. The Apollo was noted, then, for many things: for its unassailable place on the Scottish gig circuit, for the rampant fervour with which many groups were greeted, for the less-than-salubrious nature of its backstage facilities. It all added up to a brilliant, authentic venue. The Apollo was living on borrowed time 40 years ago, however. The outcry that had greeted an earlier closure date, in 1978, when the venue's operators were granted a licence to turn it into a bingo hall, was decidedly more muted in the run-up to the Style Council farewell in 1985. As to why, David Belcher, the Herald's music writer, had this to say: 'The answer on everyone's lips is the Scottish Exhibition Centre, which has been bruited as having the ability to stage five to 10 10,000-seater per year along with up to 40 annual 2,000-seater shows'. Belcher also noted that the Apollo was damp and crumbling and that its fabric had deteriorated alarmingly over the last five years – not surprisingly, perhaps, given that the place had opened, as Green's Playhouse, back in 1927. The Apollo's time was up, then. But who could possibly have guessed in 1985 that its absence would be mourned, four decades later?