Trio test the limits of their musical imaginations

We're happy with whatever people want to call it – but labels can put people off as much as introduce them to your music.”

Anyone who dismissed GoGo Penguin as the token jazz act on the 2014 Barclaycard Mercury Prize shortlist would have received a pleasant surprise if they checked out their album v2.0.

Admittedly based around the traditional jazz trio format of Chris Illingworth on piano, Nick Blacka on double bass and Rob Turner on drums, the instrumental album owes as much to the drum and bass, dub, hip-hop, electronica and pop scenes as jazz.

“We all listen to different music, from all different backgrounds,” says Illingworth on a break from rehearsals.

“When we get together we make music we want to hear – and it has ended up being something quite different.”

Illingworth’s fluid piano-lines are central to GoGo Penguin’s music, but the rhythm section are by no means just supporting players, with Turner’s fast skittering runs held down by Blacka’s solid basslines.

“We avoid that thing where it is each person’s turn to have a solo,” says Illingworth.

“A combination of people always makes something bigger than they could individually. I want to explore that and push it.”

Part of this wider acceptance came from the arrival of Blacka on the scene in 2012, replacing original bassist Grant Russell who played on the band’s debut album Fanfares.

Nick had played with the other two band members in different outfits on the Manchester music scene.

“We were different in our tastes in music and where we wanted to go,” says Illingworth of Russell’s departure, having originally met at the Royal Northern College Of Music.

“It’s an unfortunate thing when a band member leaves, but it was a blessing in disguise.”

Now the trio are working on a projected third album, which Illingworth hopes will be recorded in June and released next year.

“In the last couple of gigs we have tested out a couple of new tracks to see the reaction,” says Illingworth.

“It’s been really positive so far. With v2.0 we spent three months writing and rehearsing and then recorded it straight away.

“With this one we are still writing – there’s a lot of new material coming through all the time. It’s a nice way to work, we can test it and when we get into recording everything will be stronger and we will feel more confident.”

The band is testing the boundaries of what can be achieved in the trio format – something which they try to do live on stage too.

“There are moments when we are writing when I think: ‘Can I physically play this without an extra arm?’,” admits Illingworth.

“It can be frustrating when you have come up with an idea that you can hear but can’t work out how to play. We do push our instruments. We don’t want to add a synth if I can do the piece on piano or add sounds acoustically.”

For the current live show Illingworth has a Kaos pad he plays during Fort, and the band is supported by their sound engineer Joe Reiser who adds effects onto Illingworth’s piano during album tracks including To Drown In You.

“Joe acts as a fourth member,” says Illingworth. “He knows the music as well as the three of us. It’s useful to have someone out front hearing what the audience hears.”

They are now taking their sound across the country playing a real variety of venues – including a homecoming show at the RNCM.

“It was amazing to play there in the opera theatre,” says Illingworth. “In Southampton we were in their big Turner Sims Concert Hall.

“But then on the same tour we played the Hare And Hounds in Birmingham which had a real club vibe. People were standing right next to me singing the melodies as we played them. It was a weird atmosphere going from that to an opera theatre environment where everyone is silent and reserved. It really makes you play differently!”

Starts 8pm, tickets £15. Call 01273 709709.