Plague of Angels at York Minster: unholy row erupts at York's sacred cathedral

The concert, titled Organic Metal: Two Worlds Collide, will mark the first time a metal band has ever played inside a Grade I listed building. For this groundbreaking event, we’ll be collaborating with the

legendary virtuoso David Pipe, who will be playing the cathedral’s awe-inspiring, majestic pipe organ.

Here, I want to explore with you the significance of this event; not just for us as musicians, but for the wider community and the preservation of valuable, make that extremely valuable, UK heritage asset. I’ll also address some of the concerns that have been raised by some members of the York Minster congregation.

A New Chapter

Music is about pushing boundaries, challenging expectations, and blending influences. As a symphonic-metal band, committed to musical innovation and experimentation, we’ve always been fascinated by the contrast between the raw power of metal and the grandeur of orchestral music. By combining these elements, we aim to create a sound that’s gloriously heavy and aggressive, yet also beautifully emotive. This performance at York Minster offers a unique opportunity to elevate this blend of music to an entirely new level. The pipe organ is an instrument with centuries of history, yet, importantly, it has the power to transform modern music. By merging the intensity of metal music with the timeless beauty of the pipe organ, we aim to create a visceral, highly immersive live experience. Today, however, many pipe organs across the country are in disrepair, underfunded, and at risk of being forgotten altogether. This performance seeks to celebrate the organ, raise awareness of its significance, and encourage the public to rediscover the sheer sonic power and beauty of the instrument. Importantly though, this is not just ‘a gig’ for us. We hope the event will make a meaningful statement about cultural innovation and heritage preservation. It’s an effort to bridge generations, connecting younger audiences with the rich history and cultural legacy of not only York Minster and its pipe organ, but of UK heritage more broadly. At the same time, we hope to introduce long-time pipe organ enthusiasts to the dynamics and power of metal music – from our show at St. Paul’s Church in Huddersfield, featured on the BBC One Show, we were amazed at how easily this generation was ‘converted’.

We also hope this event contributes to the growing conversation, currently championed by Sir Michael Palin, about reimagining the role of churches, which, let’s be honest, are facing a deepening decline. Sir Michael Palin argues that churches should embrace roles beyond religious services and become vital centres of community life, especially for the disadvantaged. They should host food banks, provide warm spaces, and offer places where

people can gather and feel connected. Churches can be cultural venues, spaces for artistic expression, and symbols of unity, serving communities in innovative ways. As a metal band, we may not be your typical cathedral performers, but that’s precisely the point! We are challenging preconceptions, creating an inclusive atmosphere, and showing that these beautiful spaces can embrace all forms of artistic expression. The very fact that this project is being held in a religious setting like York Minster speaks volumes about the Church’s willingness to evolve and remain relevant in the face of an ever-changing cultural landscape. Churches, particularly cathedrals, have long been centres of cultural expression and musical innovation. From the works of J.S. Bach to the evolution of Gregorian chant and early choral music, right through to the first performance of Benjamin Britten’s War Requiem, cathedrals have served as venues for composers and artists to challenge the status quo, just as we, along with David Pipe, are doing now. To suggest that a heavy metal concert, juxtaposed with the majesty of the pipe organ, is unworthy of a sacred space is to ignore the long history of artistic evolution that has occurred within these walls.

Preserving Heritage

The importance of preserving and protecting the heritage of churches and the pipe organs they contain cannot be overstated. These spaces are not only repositories of history but also living, vibrant venues with majestic instruments that hold untold potential to enrich the UK’s cultural landscape. Just as we must safeguard historic landmarks like York Minster and its pipe organ for future generations, we must ensure that these spaces evolve to meet the needs of modern communities. This concert represents an exciting step in that direction. By bringing together a genre often seen as rebellious with the solemnity of a historic cathedral, we’re demonstrating that these sacred spaces can be as much a part of the future as they are of the past. This is vital, because we are at risk of losing much of this cultural heritage. Since 2013, approximately 3,500 churches in the UK have closed, and more than 900 are on Historic England’s “heritage at risk” register. Similarly, on average, four pipe organs a week are sent to landfill, with many others disintegrating beyond repair.

Overcoming Musical Prejudices

There’s another important point to make here: whilst I understand that such an unexpected collaboration may raise eyebrows, it’s crucial that musical taste doesn’t cloud people’s judgment. The history of church music is filled with composers whose personal beliefs or lifestyles didn’t align with Christian dogma, yet their music continues to be performed in churches and cathedrals. Consider Richard Wagner, a notorious antisemite who blamed the

church for the downfall of European civilization, yet his music is still played in churches and cathedrals worldwide. The same can be said for composers like Berlioz, Verdi, Liszt, and Tchaikovsky, all of whom were once criticized for their music’s perceived inappropriateness for religious settings. Yet, their works are now integral to the church’s musical tradition. I believe that at the heart of the objections seems to be a tenuous connection between two members of Plague of Angels and a previous band they were involved with, a band that, thirty years ago, (before our vocalist Anabelle was even born!), released an offensive t-shirt.

Rather than focusing on the present, some critics appear to be far more focused on digging up the distant past, and while I understand that some may feel uneasy about this association, I want to be clear: the music and message of Plague of Angels fosters engagement and unity, not division. This is something that was entirely evident to York Minster’s executive committee when they booked the event, and something I hope those worried about the event will discover by engaging with us at the Minster. I hope that those who are sceptical will give the project a chance to prove that the power of music, whether in the form of metal or the pipe organ, is universal, and that sacred spaces like York Minster can continue to evolve and inspire for generations to come.

Dr Mark Mynett, PhD BSc(Hons) PGCE FHEA NTF UTF is a Senior Lecturer in Music Technology & Production at The University Of Huddersfield