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Edinburgh weekend 2026: more fun at the Fling

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Edinburgh weekend 2026: more fun at the Fling

The last weekend of March this year saw traditional flute players gather in Newhaven, on the outskirts of Edinburgh on the shores of the Firth of Forth, for the 2026 Edinburgh FluteFling. Here’s a first account, with photos to come.

Friday

“Is it always as cold as this?” a woman asked me as she hurried wind-blown into the tall atrium space, shaking off rain from her jacket and unravelling her scarf. It was Friday evening at the Heart of Newhaven Community – a Victorian school building that is home to a vibrant and busy community and the Edinburgh FluteFling weekend base for the last four years.

It was the start of what turned out to be a blustery weekend, with the venue set back from the old Newhaven harbour. Events in previous years had seen warm sunny days, or the haar setting in for a fog-bound weekend. Jackets, scarves and hats were needed for this weekend though, as weather drove down the Forth valley whipping up heavy showers, sunshine and rainbows while white horses danced in the Firth of Forth.

In contrast, the atrium was beginning to fill with the warmth of old friends reuniting and newcomers gaining their bearings before finding seats in the main hall for the opening concert.

On such a night, this year’s concert certainly rewarded hard core fans of traditional flute and whistle playing. The lineup of award-winning and award-nominated musicians celebrated a rich array of variety within contemporary and traditional music.

The concert opened with Hammy Hamilton, the celebrated Irish musician, academic, researcher, educator and creator of what has become known as the “Irish Flute”. That design is a modern reworking of the older wooden classical flutes of the 19th Century, adapted for traditional music and taken up the world over.

Scottish flute maker George Ormiston had also been adapting the design in parallel to Hammy Hamilton and has supported the FluteFling. Over the weekend we were blessed with the presence of both influential innovators.

Hammy’s solo performance offered an insight into his influences and interests and he drew the audience in with stories, older tunes and singing. A personal high point was a song from Lough Neagh framed by the melody played on the flute.

Four fluters: the perfomers gather for a rousing set of tunes to finish the night (c) Gordon Turnbull

Tina Jordan Rees followed on both flute and low whistle, with a mixture of her own compositions and traditional tunes. Tina’s unaccompanied performance highlighted those original melodies, which carry recognisable traditional features but often with a twist such as an unusual time signature, key or rhythmic variation. At a time when many innovations are being explored in traditional music circles, to my ears Tina’s tunes stand tall in a solo setting, remaining accessible to players of flutes and whistles and to audience members alike.

Headliners Claire Mann and Tom Oakes are both multi-instrumentalists but the final hour of the evening was mostly given over to flutes, which made for a very special occasion. With sensitive and lively interplay across a mix of different tunes types, from slow airs to punchy reels and jigs, there were settings in unusual keys and an array of flutes in different pitches

Long-standing friends, there was a natural ease to Claire and Tom’s music, despite this being just the second time they had performed together. Hopefully this is the start of further musical adventures together from them.

Towards the end of their set, they played a set of tunes associated with Cathal McConnell in tribute to him. The Fermanagh flute player, whistle player and singer has long been resident in Edinburgh and is a recognised major figure in Irish traditional music. Cathal has attended and supported FluteFling events over the years but was unable to do so this year.

The evening was rounded off by all performers coming together for a rousing set of tunes to see us all of on our way.

Saturday

This year, the workshops were sold out within just a few weeks, despite increasing class sizes. This made for a busy Hub at the venue, which we took over once more. This year the three teaching groups remained in their rooms and Hammy, Tina and Claire as tutors were the ones that moved around to the different groups.

At FluteFling we create the classes based on current playing situations, which in recent years we have found to be a natural way of grouping people who attend rather than asking them to rate their own ability or how long they have been playing. Overall, people seemed relaxed and comfortable in their groups.

Dropping into one class, I caught Hammy sharing some of the background to the music and the flute before teaching a barndance. In another, Claire was responding to questions on different ways of introducing ornamentation into a tune she was teaching. And in a third, Tina had shown a class that a particular tune was much more manageable than it had first seemed to the group.

Teas and coffees were provided by the wonderful Heart of Newhaven team and enough time is given for the breaks between classes to allow everyone to pause from learning. The space became noisy with chatter and music. This was time for friends to catch up, grab a coffee, listen in on conversations about music or instruments, or just go and get some fresh air.

George Ormiston had his flutes and whistles available to try out, including a Bb flute and even one in A, a physically tricky one with a sonorous reward. There were discussions about instrument needs, repairs and maintenance, local sessions, recordings, and more. There were second hand instruments for sale and people broke out into quiet spaces to try them out or consolidate what they had just been learning.

FluteFling Chair Dougie Pincock listens to Hammy Hamilton share details on his experiences and research on the flute in Irish music. (c) Gordon Turnbull

The teaching day ended with FluteFling Chair Dougie Pincock interviewing Hammy Hamilton about his life and experiences as a musician, flute maker, researcher and academic. It was fitting to finish up by deepening the understanding of the music, in particular the development of the flute since the 1970s and 80s.

After the workshops, the now-traditional curry at Rishi’s followed and once more we were looked after very well. We have long-time FluteFling supporter and previous tutor Niall Kenny to thank alongside the welcoming Lost in Leith, for arranging a space for the evening session. This was quickly arranged following the previously organised venue letting us down at the very last minute. But all was well as music and goodwill flowed.

Flutes, fiddle and low whistle at the Saturday session in Lost in Leith (c) Gordon Turnbull

Sunday

Flutes on the table at the end of the Saturday session at Lost in Leith (c) Gordon Turnbull

Despite the challenge presented by the clocks going forward over the weekend, a large group managed to gather for the Sunday workshop with Claire. This mixed ability workshop is relatively new to FluteFling, but it is proving to be a popular one. On the whistle, Claire led us all through a slow reel that was perfect for Sunday morning vibes. Inside was coffee, tea and mellow music, while outside another shower lashed and blew by. The groups explored phrasing, discussed the merits of learning by ear and whistles in different pitches.

There was still time for a well-attended session in the afternoon at Lost in Leith, but many had journeys to make — to home in County Durham, Aberdeen, Galloway and Somerset. Others had travelled from the USA or the Netherlands to be part of a very successful weekend.

A view from the inside

Brigid Daniel (right) playing the whistle in Claire Mann’s workshop (c) Gordon Turnbull

Brigid Daniel is a whistle player from Edinburgh who attended the weekend. She kindly added her thoughts on the her experiences from the perspective of someone attending.

What was it like to attend? The venues, setting, location? 
The venue works well for such an event with separate rooms to accommodate smaller groups, but also enough space for all to gather. Parking is easy close by and is near shops to buy lunch.

 

What’s it like to be in a workshop?
I attended the workshops on both days and enjoyed the different styles of the different leaders. It was good to stay part of one group and get to know the other group members. I felt completely safe to have a go at trying all the tunes – it was a supportive, friendly and non-threatening environment in which to learn. The option to record the tunes was helpful. It was also helpful to have some of the sheet music in advance.

What did you enjoy about it?
I enjoyed the chance to learn from expert players. The most useful aspect for me was learning more about ornamentation, in particular, breaking down a tune in detail and patiently trying to infuse ornaments rather than rushing through and moving on. I particularly welcomed the last workshop that focused on the whistle.

Any highlights you would like to share?
Apart from learning from the leaders, I enjoyed the opportunity to compare notes with others. There was ample time to chat informally and to pick up tips and ideas about instruments, music, sessions and events from other attendees. Everyone was very friendly and it was nice to be amongst a group of people who shared a passion for flutes and whistles.

Any tips for surviving the weekend?
I recall from when I was very new to learning by ear how intimidating it can feel. Now, with much more experience of that kind of learning I feel more confident that I will learn a tune in that way. For those who were new to learning by ear there were times when I think the teaching pace might have been a little too fast, but then of course there has to be a balance for those who pick up tunes quickly. I think the only way to address this is to ensure that there is a lot of reassurance to those who are very new to learning by ear that it doesn’t matter if they don’t get it all perfectly immediately. Even picking up some of the phrases is a good start.

What does FluteFling mean to you?
In the sessions I go to there is a tendency for there to be far more fiddles than flutes and whistles so it is a joy to spend time with a large group of flute and whistle players.

Why would you recommend coming?
I would recommend the weekend to players at any level who want to share their love of flutes and whistles in a friendly environment where there is lots to learn in a relaxed and safe space.

Have you ever been to the Aberdeen weekend or plan to?
I haven’t yet, may well one day.

Finally

FluteFling would like to thank Hammy Hamilton, Tina Jordan Rees, Claire Mann, Tom Oakes and George Ormiston for their involvement and support, Alasdair Kampff for delivering the sound impeccably at the concert, the Heart of Newhaven Community, Lost in Leith, Rishi’s Restaurant, to Callum MacLellan for photography, and the many volunteers who stepped in to help at various times. Finally, to all those who were able to come and to those who would have liked to but were unable to.

Once the dust has settled, we will fix a date to return to Edinburgh next Spring. Conversations have already started.

The next FluteFling will take place in Aberdeen 6-8 November 2026. The details will be announced over the next couple of months and Mailing List subscribers will be the first to gain access to tickets towards the end of the summer. If you would like to subscribe it is free to do so on the here on the website.

Flutes and whistles at Stonehaven

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Workshops and concerts featuring whistles and flutes at Stonehaven Festival

A woman holds a wooden penny whistle as she looks at the camera. She is smiling. The background shows an image of an array of penny whistles in an open cloth carrying case.

Joannie Madden from Cherish the Ladies will be appearing at Stonehaven Folk Festival. (c) Joannie Madden

Stonehaven Folk Festival takes place 11-14 July this year and our friends there have organised a weekend that features a number of whistle and flute concerts and workshops that are worthy of your attention.

With Joannie Madden and our own Kenny Hadden amongst them, there is something here for everyone and spaces available at the time of writing. Like many of these things, if we’re able to support them then they will continue to be offered.

Stonehaven flute and whistle workshops

Whistle (Intermediate) – JOANIE MADDEN
Friday, 12 July 11:00-13:00 – Community Centre £12.00

Whistle (Intermediate) – KENNY HADDEN
Saturday, 13 July 10:30-12:30 – Community Centre £12.00

Flute (Intermediate) – GUILLERMO DEL VAL
Saturday, 13 July 13:30-15:30 – Community Centre £12.00

Groupwork (Intermediate) – ROSS AINSLIE, TIM EDEY, MARC CLEMENT
Sunday, 14 July 10:30-14:30 – Community Centre £12.00

The main website is here:
https://tickets.stonehavenfolkfestival.co.uk

Thanks to John Crawford for sharing the information.

 

Alex Green Whistle Festival

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Alex Green Whistle Festival – Aberdeen 1-3 March

It seems that there is so much more on for flute and whistle players to attend these days and it is great to see that the inaugural Alex Green Weekend will take place in Aberdeen 1-3 March. The weekend celebrates the NE whistler with an impressive lineup of concerts and workshops organised by The Elphinstone Institute, which is part of the University of Aberdeen.

Featured performers and tutors are Cathal McConnell, Mary Bergin, Fred Morrison, Dougie Pincock, Claire Mann, Tom Oakes and Kenny Hadden in a range of events, some of which are free to attend.

It’s a good chance to see and hear so many contributors to The FluteFling Collection – five of those mentioned are included. You can get your copy here or catch Kenny Hadden over the festival weekend.

Tickets are on sale through Aberdeen Performing Arts and at the time of writing this is the best way to find out what is happening.

Update 2 February: The full programme is now available on The Elphinstone Institute website.

About Alex Green

Alex Green had a unique and authentic style of playing, which has been described as “spit-staccato” (I’m sure there must be a better and more attractive descriptor — maybe someone who knows NE Scottish dialects can suggest one). A highly influential and generous musician by all accounts.

Alex Green passed away in 2017 and has since been inducted into the Scottish Traditional Music Hall of Fame. You can learn more about his life at Hands up for Trad.

His album Whistle O’er The Lave O’t has an accompanying video:

FluteFling Edinburgh 2023: sunshine on Newhaven

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Sunshine on Newhaven Flutes

Ali Hutton and Tom Oakes perform at FluteFling 2023 (c) Gordon Turnbull

FluteFling returned to Edinburgh with a great full weekend in May, featuring Tom Oakes and Ali Hutton in concert and workshops with Davy Maguire, Sharon Creasey and Tom Oakes.

The sun shone on a sell-out event at our new venue in the north of Edinburgh, the Heart of Newhaven Community, for our first post-lockdown weekend in Edinburgh. Just West of neighbouring Leith, it proved to be the perfect setting. (See this blog post for peek behind the scenes).

Friday

Tom Oakes had initially been invited to perform at the cancelled 2020 event, so we were delighted that he was able to take to the stage with Ali Hutton in a new duo. Support came from Sharon Creasey on her Böhm system flute, with Tom’s delicate bouzouki underpinning her strong, brilliant sound as she treated us to some of the tunes from The FluteFling Collection. It’s always a treat to listen to other flute players that we don’t always get to hear, so kudos to Niall Kenny for stepping into the other support slot despite a long shift in his day job as agricultural vet. His tone shone through as he got into the groove.

A tuning issue between Ali Hutton’s pipes and Tom’s flute at warm-up meant a last minute change as Ali took a back seat and accompanied Tom. What followed was a flute masterclass in technique, control and tone, from fast-paced cascades of newly penned tunes in tumbling time signatures to slow airs with minimal foot pedal live effects. (“The best foot pedal control from a non-driver I have ever seen”, according to Ali Hutton). Underpinned by Ali’s sympathetic guitar, sometimes driving, sometimes holding back to provide more space to the music, the packed audience were mesmerised and appreciative. For more of that considered and thoughtful control, see Tom’s album Water Street. Look out for more of Ali and Tom in the future.

Tom and Sharon were to be teaching the following day and third tutor Davy Maguire arrived from Belfast during the concert. He joined them both on stage for a rousing set of tunes to wind up the concert and preface the session in the concert hall that followed.

Tunes after the Friday night concert. (c) Gordon Turnbull

Saturday

A row of flute players playing flutes.

Flute players going through the paces during an afternoon workshop. (c) Gordon Turnbull

The sun really shone for us on the Saturday, with blue skies marking the end of a cold spring. It contributed to a special day, as we had taken over the Anchor Hub at Heart of Newhaven Community and people were able to spill out into the sunshine at the breaks between the sell-out workshops.

It was great to see so many new and familiar faces, with people catching up with each other, reconnecting and making new friends.

One big difference was the space that we had and in the middle of it all, a desk run by Coralie Mills and Linda Harkness who kept things running smoothly on the ground.

Kenny Hadden speaking on the traditional flute revival in Scotland. (c) Gordon Turnbull

As in previous years, the teaching was rounded off with a talk. Kenny Hadden gave a presentation on the history of the flute in the Folk Revival in Scotland.

Updated from the one he gave at the book launch in Stonehaven in 2022, it was an illustrated form of the introduction he wrote for The FluteFling Collection and introduced many people to a subject that is little known or misunderstood.

One highlight was the presence of Dougie Pincock, who had arrived during the day to give a talk in the evening. As a member of The Battlefield Band, Dougie had a significant part to play in the Scottish flute revival himself.

Dougie Pincock then and now, standing in front of a photo taken during his time in The Battlefield Band (c) Gordon Turnbull

Davy Maguire and Sharon Creasey listen closely as Dougie Pincock performs a set of tunes on the Highland pipes. (c) Gordon Turnbull

After a now-traditional group curry, Dougie went on to give a talk and demonstration in the hall on Highland piping and the flute.

Always a particularly engaging and entertaining speaker, Dougie is a contributor to The FluteFling Collection. Take-aways included a better understanding of the role of bagpipes in the Folk Revival, the need to learn correct versions of tunes and the importance of grace notes or articulation in Highland pipe tunes.

Following the talk, the remainder of the evening saw another session take place before we all had to make our ways home.

Sunday

Some of the contributors to The FluteFling Collection. L-R: Rebecca Knorr, Davy Maguire, Sharon Creasey (back), Kenny Hadden (seated), Gordon Turnbull (c) John Crawford

With another return to our previous traditions, brunch was in town near Sandy Bells. Rebecca Knorr joined us and we had a photo opportunity to have a gathering of tunebook contributors. Not the complete set, but the biggest number yet in the same place.

The session in a near-empty Sandy Bells was as good as any previously, with a great sound produced by all in the back space of the pub. As ever, we were joined by Cathal McConnell (also a tunebook contributor) who has become like a patron saint of the organisation.

The Sunday session in Sandy Bells. Clockwise L-R: Cathal McConnell, Sharon Creasey, Ann Ward, Martin Duckworth, Davy Maguire, Rebecca Knorr, Gordon Turnbull, Richard Elliot, Kenny Hadden.

While people had to make a move for the road home, there was still time for a final fling as a handful of us joined the excellent Waverley Bar session regulars for a short while.

The Waverley Bar session: L-R: Davy Maguire, John Martin, Geoarge Duff, Allan MacDonald (c) Gordon Turnbull

It wound up a fine weekend of music and togetherness, much needed by all of the FluteFling community after the difficulties of the past few years.

Now that we have broken the ice and found a way to do this kind of thing again, we have plans to do so again.

Not only do we have the Aberdeen weekend dates in place (3-5 November), we are already working hard for 2024, which will be the 10th anniversary of FluteFling, which we hope will be very special.

Thanks again, to all of the contributors, participants and well-wishers. In the meantime, sign up to the newsletter to keep up with these and other FluteFling activities.

FluteFling at Stonehaven Folk Festival

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The FluteFling Collection book launch and workshops 9 July 2022

Return to in-person events

John Crawford, Euan Reid, Kenny Hadden and Sharon Creasey at an outdoor session at Stonehaven. (c) Gordon Turnbull

Getting back into in-person events was never going to be easy, but we knew we had to launch the tunebook at some point. We couldn’t have chosen a better way, than at the 33rd Stonehaven Folk Festival. Just south of Aberdeen, it is a long established landmark festival in Scotland. With a number of artists appearing that included the flute or whistle — Flook, Rura and Deira from Asturias, it was definitely a good match.

Sharon Creasey, Kenny Hadden and myself, with John Crawford and Peter Saunders, had begun thinking about this last year but found it tricky with Covid levels being so unpredictable. Thinking about how we might have to manage an in-person event in such a climate was difficult. When I looked in January, there were still restrictions on room capacity and requirements for mitigation. The rules changed but could have changed again by the time we had responded. FluteFling is run in people’s spare time and there were organisations with full time staff who struggled, so it wasn’t going to be simple.

On top of that, we were collectively no longer used to playing in sessions, performing and teaching. I think I hadn’t taught for 2 years and certainly hadn’t played on stage for 3 or 4 years. There were steep relearning curves whichever way we looked. So Kenny approached Stonehaven organisers Charlie West and Meg Findlay knowing that we needed a bit of help.

To their credit, they understood the situation and used their experience to make it straightforward. The festival was only just returning after having to cancel the last two years and the performers that weekend were rebooked from the 2020 weekend that didn’t run. Clearly, trying to get back to the things that matter to us was a theme of the weekend.

John Crawford completed the necessary risk assessments for the workshops and he and Pete Saunders were volunteering, so we were well looked after and it was less to think about.

Setting up

Two men and a woman selling books by a display

Kenny Hadden, Coralie Mills and John Crawford ready to sell copies of the book. (c) Gordon Turnbull

The weekend was set to be a sunny one and we set our stall and new banners up in the hot and sometimes busy bar in the Town Hall on the Friday evening. Coralie Mills had kindly volunteered to run the stall, the new banners drew attention and the contactless machine was soon doing its business as we drew some friendly attention and began selling our first copies.

Having worked on this for over a year, largely in lockdown, it was difficult to gauge what kind of response the book might have. Sharon in particular had shaped it with the contributors and we could see a value in it that we hoped others would recognise. So it was gratifying to see the response from all musicians, not just flute and whistle players. Thank you to everyone who took the time to speak to us about it over the weekend.

The stall was in the bar upstairs from the concert hall and we able to quietly nip in and out to the balcony and watch some of the performances in between catching up with each friends we hadn’t seen in person for a while.

Flook performing at Stonehaven Folk Festival (c) Gordon Turnbull

Flook were in fine energetic form and, as expected, extraordinarily tight and focused. We had put up a signed copy of the tunebook as a raffle prize and were bowled over to discover that the whole band had supported us by adding their signatures. Somebody walked away that evening with quite a special prize.

 

 

Fèis and chips

A man demonstrates playing the flute

Gordon teaching a flute workshop at Stonehaven (c) David Fernandez

The Saturday workshops at Dunottar Primary School were low key and with a friendly and helpful Janny and volunteers we were quickly set up. The morning workshops were beginner flute (Kenny Hadden) and beginner whistle (myself and Sharon Creasey). It was the first time that we had tried two tutors in one workshop, but it meant that Sharon and I could address individual issues and compare notes as we went along — it’s always good to hear different perspectives on the same subject.

In the afternoon, Sharon took an advanced whistle class while I took the flute class. Everyone was at different stages of returning to playing music again — some had not played for months, some had not been in sessions, others had happily been playing away in person or online. It was tricky to get the balance right, but we all had to begin somewhere.

Returning to teaching after a gap of 2 years was also a personal challenge. There was lots of talk and questions and in the back of my mind, I could hear Hammy Hamilton’s comment from Cruinniú na Bhfliúit, that he was always happy to hear talk coming from a room because it meant that people were discussing questions rather than simply learning tunes. As David Fednandez said, he was just happy to be back with others again playing the flute.

Two men play the flute in a marquee

Kenny Hadden and Gordon Turnbull perform at Stonehaven Folk Festival (c) Martin Duckworth

Straight after the workshops, Kenny and I did a performance spot in the marquee in the square. We played some of our tunes from the book, including a duet. As many musicians elsewhere had said, it was good to get back to performing. Some of it felt familiar, other parts a bit alien after the last few years, but the sound was good and the audience enjoyed it.

The Asturian band Deira followed us on stage and were complimentary. As we dashed across the road to the book launch, their amazing sound rang out across the square and I made a mental note to try and hear more of them.

Kenny Hadden giving a talk at Stonehaven on the revival of the flute in Scottish traditional music (c) Gordon Turnbull

In the function room of No. 44, around 50 people had gathered to hear Kenny, who had set himself up to give an illustrated talk on the revival of the flute in traditional Scottish music.

With a big display screen and good sound, his meticulous trawl through the archives was an expansion on his essay in The FluteFling Collection that had people talking afterwards.

I think most people learned something new and to others it was a complete revelation. There were good questions from an engaged audience afterwards and I hope that there will be other chances to hear Kenny present this again.

Kenny, Sharon and myself followed the talk with a short recital of our own contributions to The FluteFling Collection. Peter Saunders was there and you can hear some of the performance on Peter’s YouTube channel:

An Aberdeen-based Polish whistler and David Fernandez at the book launch session. (c) Gordon Turnbull

There was a short session afterwards and friends were able to catch up with each other. Somehow, there’s never enough time to do everything we would like to do.

We were fortunate in that the Festival had donated the space to us and provided a sound technician to help set us up. With pubs and bars filled with music across the town, we also our own space to play and could hear each other.

The bookstall still needed manning and people were getting hungry after a long day

 

 

 

Deira performing at Stonehaven Folk Festival (c) Gordon Turnbull

I managed to catch Deira perform after the launch. The trio have a tight and driving sound that reminds me of Rura, but playing traditional Asturian and original tunes with a creative use of live loops and effects.

It’s easy to see how they went down well at Celtic Connections just before the pandemic and I recommend checking them out.

 

Kenny Hadden and Sharon Creasey on whistles at Stonehaven. (c) Gordon Turnbull

We ended up taking fish suppers to the splendid boardwalk that runs along the shore. A tune was soon struck up and we were joined by the Paddy Buchanan Band who had done a great performance on the Friday night. It was a fine evening to cap a fine day.

 

 

 

Easy like Sunday lunchtime

Gordon, Sharon and Kenny (c) David Fernandez

On Sunday, we took some time to tie up the loose ends, drink coffee and reflect on the launch, thinking of what happens next.

There was such a buzz from being with people again, many of whom we hadn’t seen for a couple of years, and playing music together. The support and goodwill towards FluteFling was overwhelming, so thank you to everyone who helped to make it happen and to those who managed to attend.

Our thanks go to the organisers for accommodating us and making us feel so welcome. This was most certainly a case of a bigger organisation being true to their roots and seeing the opportunity to give a helping hand to a smaller organisation such as ourselves to get going again in the post-lockdown world. We were able to provide workshops in return and so the benefit was mutual and we would consider similar arrangements in future.

Our thanks too, for Tasgadh for the grant and support that enabled the publication of the book in the first place and to the amazing contributors who were so keen to be part of this project. To order your own copy of The FluteFling Collection in Print or eBook format, visit the FluteFling Shop.

It was a memorable weekend and we resolved to have a similar event in Edinburgh. Covid and personal circumstances have delayed this, but we all look forward to the next one. Sign up to the newsletter to hear about it first.