We sing to, dance with and buy music because it matters to us. It matters usually because of how it makes us feel, but also who it connects us with, what tribes it creates. That interconnection both within us and between us is irresistible, I suspect increasingly, because just as more of life is becoming virtual, music can't not remain real.
Fifty one years ago, Blowin' In The Wind was adopted as some kind of clarion call for an energetic, shackled and questioning youth to stop relying on their elders for answers, to open their eyes to the unfairness around them, to strive to find a different path at the end of which truths would miraculously materialise.
The lure of the filthy lucre is strong in the upper echelons of the classical music industry. Dangled before genius, the contract that promises to make musicians rich can unmoor and pollute. But only if caution is not exercised. Money, in this respect, can be poisonous, and Nicola Benedetti agrees...
So here we are, August 2013, slap bang in the middle of BBC Proms territory. Whilst the Royal Albert Hall in West London plays host to the biggest names in classical music, the British Film Institute in South London shows the screening of series 2, show 1 of Top Boy- Channel 4's gritty drama about inner city street life.
A tune-up, unplugged gig, this one was, leading up to the penultimate Royal Albert Hall capper this 1 November. The three-piece version of Karl Wallinger's World Party that played New York's quaint City Winery on 17 September no doubt will pale in comparison in about six weeks to the wall of sound sure wallow through the sacred London music house.