#Trinity60‍

Introduction: A different kind of stage The history of music at Trinity is written in cathedral stalls, concert halls, and the jazz clubs of Soho. But in the autumn of 2021, a new chapter was written under the cast-iron columns of Camden’s legendary Roundhouse.

There were no hymn sheets, and the audience wasn’t sitting in respectful silence. Instead, five members of the Trinity Girls’ Choir found themselves at the epicentre of a sold-out, screaming, post-lockdown celebration of avant-garde pop. They were there at the invitation of Caroline Polachek, the critically acclaimed American singer-songwriter, to provide the choral texture for a show that the NME would later describe as a performance by a "twisted pop champ" feeding a crowd desperate for connection.

For the students involved—Abbie Daly, Maia Evans, Eliza Farrar, and Ekaterina Ivanova—it was a stark, thrilling demonstration of where a Trinity musical education can take you.

The Prelude: Recording 'Billions' in Croydon The road to the Roundhouse didn’t begin in Camden, but in the slightly more sedate surroundings of the Trinity Recital Hall.

Trinity’s reputation for choral excellence is well-established, with the Boys’ Choir frequently appearing on professional film soundtracks and opera stages. However, the Girls’ Choir has increasingly carved out its own identity, marked by versatility and a distinctively pure sound.

It was this sound that Caroline Polachek was looking for. Known for her complex vocal arrangements and ethereal, operatic pop style, Polachek needed a choir that could deliver precision and emotion in equal measure for her upcoming track, Billions.

The recording session took place at the school. It is a testament to the facilities at Trinity that an international artist could walk into a school recital hall and find a recording environment that rivalled professional London studios. The students were not treated as children, but as session musicians. They were required to learn complex harmonies, adapt to the artist’s direction on the fly, and deliver a perfect take.

The track they recorded that day, Billions, would go on to be a critical success, praised for its lush, immersive production. But for the girls, the collaboration was about to get much more visceral.

The Main Event: "So Hot You're Hurting My Feelings" In October 2021, the live music industry was just waking up after the long hibernation of the pandemic. The energy at live gigs was palpable—a mixture of relief and euphoria. Caroline Polachek’s show at the Roundhouse was one of the hottest tickets in town, selling out in under an hour.

When the invitation came for the girls to join Polachek on stage for the finale, it was an opportunity to experience the music industry at its most electrifying.

The Roundhouse is a venue steeped in history—from Jimi Hendrix to Pink Floyd, it has hosted the giants of music. Stepping onto that stage is daunting for seasoned professionals, let alone school students. Yet, as the lights went down and the choir took their positions for the final two numbers, the training kicked in.

The NME review of the night noted the "pang for connection" that rippled through the audience. As the choir’s voices blended with Polachek’s soaring vocals, they provided the emotional anchor for the show’s climax. They weren't just backing singers; they were an integral part of the soundscape, their classical training providing the perfect counterpoint to the electronic beats and Polachek’s contemporary style.

The Trinity Sound: Excellence across genres This collaboration highlights a vital aspect of the Music Department’s philosophy as we celebrate our 60th anniversary. While we are rightly proud of our cathedral residencies and our classical heritage, the "Trinity Sound" is not confined to one genre.

From the jazz musicians who have gone on to play at Ronnie Scott’s, to the rock bands formed in the practice rooms, and now to the choristers collaborating with alt-pop icons, the department fosters musicianship that is adaptable and open-minded.

The discipline required to sing Evensong—the listening, the blending, the timing—is exactly the same discipline required to back a pop star in front of 3,000 people. The context changes, but the excellence remains constant.

A Legacy of Opportunity As we look back at 60 years at Shirley Park, stories like this remind us of the breadth of opportunity available to our students. The T60 campaign is built on the pillars of Community and Opportunity, and this event bridges both.

It represents the Community because it brought together students from different year groups, working as a single unit to represent the school. It represents Opportunity because it gave those students a professional benchmark—a glimpse of what is possible when talent meets hard work.

For Abbie, Maia, Eliza, and Ekaterina, that night at the Roundhouse will likely remain a highlight of their time at Trinity. But for the school, it is a marker of our ambition. We want to ensure that whether a student’s passion is Baroque or Art Pop, Rugby or Robotics, they have the facilities, the teaching, and the opportunities to pursue it to the highest level.

The Future is Co-ed It is also fitting that this story features the Girls’ Choir. As Trinity moves towards becoming a fully co-educational school, the Girls’ Choir is set to become an even more central part of our musical identity.

For decades, the Boys’ Choir has acted as an ambassador for the school on the world stage. The performance at the Roundhouse proved that our female musicians are ready to share that mantle. It showed that the future of music at Trinity is not just about preserving the past, but about embracing new voices, new genres, and new stages.

Support the Next 60 Years Moments like these are forged by the resources we invest in our students. From the acoustic quality of the Recital Hall to the expertise of the music staff who arranged the collaboration, every donation to the Trinity Bursary Fund helps maintain an environment where extraordinary things can happen.

Help us ensure that the next generation of musicians—singers, players, producers—can find their voice at Trinity.