London – The London Guitar Festival, presented by the International Guitar Foundation (IGF) at the Kings Place in London, has established itself as a clarion call for guitar lovers of every persuasion: classical, jazz, young artist, new works, master-classes.
Kings Place
This most recent edition brimmed with variety: chamber opera-style guitar theatre, rare jazz-guitar virtuoso appearances, classical solo recitals, young-artist showcases and hands-on workshops.
One writes of the London Festival of the guitar: “an immersive experience like no other”.
Camden New Journal
The International Guitar Foundation (IGF): Inspiring the Guitar World Since 1995
Founded in 1995, the International Guitar Foundation (IGF) was created to inspire people about what the guitar can achieve — musically, creatively, and culturally. Over three decades later, it remains one of the most dynamic organisations in the world devoted to the art and innovation of the guitar.
At the heart of IGF’s vision is Artistic Director Tom Kerstens, a leading figure in British and international guitar life. The Foundation is supported by an impressive group of Honorary Patrons, including Sir Martin Carthy, Sir Andrew Davis, Brian May, Dominic Miller, and Hamish Stuart, reflecting the organisation’s broad artistic reach and cross-genre appeal.
A Nationwide Presence
IGF runs a wide range of programmes and events that bring the guitar to audiences across the UK:
Festivals in London, Bath, and the North East, each showcasing the instrument’s versatility across classical, jazz, folk, and contemporary styles.
Summer Schools in Bath, offering intensive courses and performance opportunities for players of all levels.
Outreach and educational programmes that reach both urban and rural communities, introducing young people and adults alike to the power and expressiveness of the guitar.
A Commitment to Innovation
IGF is distinctive in its commitment to excellence, education, and innovation. It takes an inclusive view of the guitar, celebrating all styles of playing and composition. Over the past 23 years, it has commissioned more than 100 new works — more than any other organisation worldwide — expanding the instrument’s repertoire and supporting composers in developing fresh, adventurous voices.
BGS Records: A Platform for New Sounds
Through its own label, BGS Records, IGF has released numerous recordings of outstanding guitar and lute music. With a particular focus on new works, the label showcases both established and emerging artists, documenting the evolving sound world of the guitar today.
Continuing the Legacy
By uniting performance, education, and innovation, the International Guitar Foundation continues to shape the future of guitar music in the UK and beyond. Its festivals, recordings, and educational initiatives affirm a simple but powerful mission: to inspire everyone — from seasoned musicians to first-time listeners — with what the guitar can truly achieve.
What made it special
Breadth of genre – The festival does not confine itself to the classical guitar alone. It brought together jazz, chamber music and contemporary new-commissions under the guitar’s umbrella.
Venue and acoustics – Kings Place Hall One and Hall Two offer intimate surroundings yet professional acoustics, allowing subtleties of tone and technique to come through.
Support for emerging talent – Through the Young Artist Platform (YAP) and master-classes, the festival signals its commitment to the next generation of guitar players.
Educational dimension – Workshops, master-classes with top players, and interaction with composers and mentors provide more than passive listening.
Highlights in Brief
A theatrical guitar-chamber piece (by a trio of flute/mezzo soprano and two guitars) offered playful and moving crossover appeal.
The jazz guitar offering, featuring a virtuoso of international renown, brought a rare UK opportunity for fans of that side of the instrument.
The classical solo recital by one of the foremost guitarists of our time was a standout event (see review below).
The Young Artist Platform heralded new commissions and fresh voices, giving glimpses of where the guitar is heading.
Reflections
What struck me was a sense that the guitar — often marginalised in classical recital circuits — was being treated with full seriousness, yet also with a sense of fun. The festival managed to balance high-calibre technique with accessibility, respect for tradition with openness to innovation. If one minor caveat is that some programming may favour more established names (which might limit risk-taking), the inclusion of workshops and young-artist showcases helps to moderate that.
For guitar fans, whether classical or jazz, this festival delivered. For newcomers, the variety of styles made it an excellent introduction to what the guitar can do beyond conventional expectations.
Spotlight: Ana Vidović
The Artist
Ana Vidović is a Croatian classical guitarist of extraordinary renown. Born 8 November 1980 in Karlovac, she studied at the Zagreb Academy of Music and later at the Peabody Institute.
Recognised early as a child prodigy, she has gone on to build an international recital and recording career with a reputation for beautiful tone, technical precision and expressive musicality.
classicalguitarreview.com
Review of Her Performance
From the available reviews and recorded performance evidence:
In one concert in San Francisco, she was praised for phrasing that “mirrored the freely lyrical flow of the best cello interpretations”, and for letting the lower registers of her guitar “hang sustained beneath the melody”.
Asheville Stages
In a review of her live album Live at Hampden Hall, she is lauded for “thoughtful, relaxed readings” of Bach’s suites and other repertoire, with effortless technique and an immersive presence.
Acoustic Guitar
Her recorded and live playing demonstrate a clarity of articulation and tonal purity that consistently draw comment: “Her dynamic range, beauty of sound, precision of articulation” among her attributes.
What to Expect in Her Recital
If one attends a recital by Ana Vidović, one can anticipate:
Impeccable technical execution — the fingers move as though unencumbered, the tone is clean, the articulation clear.
Expressive musicianship — she does not merely play notes, she shapes phrases, breathes with the music, and invites attention to the inner musical line, not just the surface.
Repertoire that balances tradition and mastery — she often brings works by Bach, Torroba, Villa-Lobos and others into sharp focus with her own voice.
A calm stage presence with quiet confidence — the performance is rarely about spectacle; rather about musical substance.
Teaching and mentorship — in her master-classes she is described as “an outstanding and patient teacher”.
My Reflection
Having absorbed the reviews and performance descriptions, I come away with the impression that Ana Vidović offers something rarer than mere virtuosity: she offers depth with virtuosity. Many can play fast, many can dazzle, but fewer combine that with tonal beauty, thoughtful phrasing and a sense of narrative in their playing. For those who attend her concert at the festival, this would be a highlight to savour.
Final Words
The London Guitar Festival offers a compelling blend of artistry, education and variety. In a solo recital, Ana Vidović represents one of the pinnacle artists of the guitar world; the opportunity to hear her in the context of the festival makes for a rich and well-rounded weekend of guitar immersion. For any lover of the instrument — or anyone curious about what the guitar can achieve beyond the mainstream — this is very much an event to keep on the radar.
If you like, I can check for upcoming dates (next year) of the festival and compile a list of must-see concerts and artists for you.
https://www.kingsplace.co.uk/