By John Maguire
In this latest edition of Buried Treasure, John Maguire of ArtsGroupie CIC turns his attention to the beating heart of Liverpool’s music scene — not the pop anthems or the sandstone landmarks, but the international rhythms that have quietly shaped the city for decades. John reflects on forty years of Milap’s work bringing Indian classical music to Merseyside, and the vibrant Indo-Jazz movement born from its partnership with the Liverpool International Jazz Festival. This month, his eye lands on a particularly special find: the return of percussionist and composer Sarathy Korwar to the region, performing at Future Yard.
There’s a specific kind of friendly, warming twang to the Scouse accent that we all recognise; it’s the sound of a city built on the ebb and flow of the Mersey. But for me, the true Buried Treasure of Liverpool isn’t always found in the lyrics of a pop song or the sandstone of a cathedral. Sometimes, it’s found in the international rhythms that have made their home on our docks, surfacing now as the pulse of a beat that belongs to the city as much as the river itself.
As I walk through Everton, I’m reminded that Liverpool has always been a city of global conversations. We aren’t just a ‘pool of life’; we are a whirlpool where cultures collide to create something entirely new.
For forty years, the arts organisation Milap has ensured that Indian classical music is part of this city’s very foundation. While their story started back in 1985, their spiritual home for a long stretch was the Capstone Theatre. It was here, in 2013, that the Liverpool International Jazz Festival was established, sparking a partnership that helped pioneer the ‘Indo-Jazz’ movement in the North West.
In this space, the disciplined, ancient structures of the raga meet the improvisational soul of jazz. When you hear a Sarangi (a bowed instrument with a haunting, human-like voice) trade riffs with a saxophone, you aren’t just hearing a concert; you’re hearing the literal sound of the city’s DNA.
As the city begins to shake off the winter frost, the standout treasure on my map for March is the return of percussionist and composer Sarathy Korwar. An innovator who treats rhythm as a language, Korwar first captivated local audiences in 2020. His return on Saturday, 28 March marks a significant moment for the region’s music scene. He doesn’t play a standard kit; he brings the Ghatam (a South Indian clay pot) into a modern electronic landscape.
To catch this particular cultural treat, you’ll need to head to Future Yard in Birkenhead, just a short walk from Hamilton Square station. Something is fitting about taking Milap’s sophisticated 40-year legacy and placing it in a raw, independent space on Argyle Street. It proves that this music belongs to the streets as much as it does to the academy.
The performance, Sarathy Korwar: There Is Beauty, There Already, promises a masterclass in modern Indo-Jazz through percussion-led exploration and vocal drones. As we move toward the spring, I encourage you to look past the usual landmarks.
The greatest finds in this city are often the ones that have been playing right next to us for decades, waiting for us to finally stop and listen.
Sarathy Korwar
Future Yard
28 March
Tickets