Report & Result: 2025 Grand Shield

EverReady returns to the British Open with a delighted Amersham to join them at Symphony Hall.

There is always an air of unpredictability about the potential outcome of the Grand Shield contest.

That's especially true before the event takes place, although more often than not it also remains until compere David Hayward finally announces the identity of the two bands invited to compete at the British Open itself.

EverReady and Amersham

It was no different this year, as first Amersham and then newly crowned champion EverReady were revealed as the qualifiers heading to Symphony Hall in September.

For the North East contenders it brought to an end 10 competitive years since they were last in Birmingham. For Amersham, it was the culmination of a remarkable journey to elite level prominence; one that has seen them rise from entry to the Senior Trophy in 2022 to the British Open in three straight years.

An absorbing contest of variable quality on 'Dances and Arias' had made for "a tough day" according to adjudicator Lt Col David Barringer MVO MBE (joined by Stan Lippeatt, who stepped in at short notice for Andrea Price due to family illness). His pre-results analysis was a model of clear identification and explanation.

Elevate the music

First and foremost, he made the point that bands' "had to play the dots" on Edward Gregson's 1984 National Final test piece to provide the foundation on which to "elevate the music" to a competitive level worthy of qualification consideration.

And whilst he commended soloists and highlighted that percussion needed to be fully integrated into the performance, it was telling that he said that, "any of the top-six could (the could was emphasised) have won the contest".

Their subsequent endorsement of EverReady and Amersham was underpinned by the comment that whilst "the top two" offered contrasting interpretive accounts under conductors Stephen Roberts and Paul Fisher, they "had no doubt" they deserved their place at the British Open.

Birmingham

It also meant that the hopes of pre-contest favourites such as Hepworth and Desford Colliery were dashed as they were announced in third and fourth. They will also head to Birmingham — but not to the British Open just yet. Instead, it will be back to the Town Hall next May, as despite persuasive performances under Ryan Watkins and Ian Porthouse the inherent errors were too noticeable to ignore in the box.

A little later the full results revealed that National finalist St Dennis and 2022 winner Rothwell Temperance had also missed out with vibrant accounts that just dipped in overall consistency to be embossed with qualification certainty.

A few of those behind them could also argue they deserved higher reward, yet they will also know that they simply didn't do enough to eradicate the costly errors that accumulated throughout their performances.

Sustained consistency

Despite coming in good form Area champions, GUS and NASUWT Riverside ended in the midfield scrum behind Fishburn, Redbridge and Friary. All held promise, but none could give renditions of sustained consistency.

Behind them the fractures grew deeper and more pronounced. Rainford, Wingates, Ashton under Lyne and Skelmanthorpe were well off the pace in being relegated to the Senior Cup.

Edward Gregson's work was a fully justified test of qualification credentials — its contrasting rhythmic and lyrical elements providing an unfamiliar musical canvas for many MDs who relied too often on dynamics and pacing that lacked subtlety and refinement — the 'Dances' over-excited, the 'Arias', over-egged.

As David Barringer sympathetically noted, no one emerged unscathed — the winners included, although the tempered appreciation of the score by Stephen Roberts that drew together neat precision with balanced tonality, ensemble clarity and solo line security stood out in the box.

Excellent performance

In his written remarks, he described it as, "An excellent performance full of character and energy!" and one that was brought to "a dramatic climax". In also noting the quality of the main soloists and the direction of the MD, Stan Lippeatt simply described it as, "a fine performance".

The unpredictable nature of the Grand Shield contest, as well as the sheer difficulty that it poses in gaining escape from it was later remarked on by a delighted, as well as relieved EverReady Band Manager, Jillian Dixon.

"It's an incredible feeling after 12 years. We 've been close to qualification (two third placed finishes) and a little way off like so many rivals here, so we took nothing for granted especially as we've been undergoing a rebuilding process.

We were confident though with the experience of Stephen Roberts to guide us and the likes of Steve Sykes on Eb bass to boost us with his playing lead."

EverReady and Roberts wait

This was EverReady's third Grand Sheild victory (as Craghead Colliery in 1966 and Reg Vardy in 2011), whilst the MD ended a five decade wait since his last win at the contest (with Jones & Crossland in 1983) as he returned to the event with the baton for the first time since 2014.

"The band has been through a difficult time," he said, "but I wanted to continue building up their confidence and contest belief as the talent was around the stands. I was looking for drama and excitement throughout the piece and I was delighted with how they responded — and of course that the judges' liked it!"

Although far too professional to respond directly to the pathetic 'conspiracy' comments on social media that linked the victory to the announcement that his work 'Star Crossed Lovers' is to be used at the British Open at the 171st British Open in September, his typical wry comment made the point. "I only win once every 42 years!"

It was however yet another reminder of the poisonous streak of indulgent self-entitlement that now permeates too much of the alcohol fuelled post contest environment.

Amersham heights

Amersham's celebrations (alcoholic or not) were fully entitled though, as Paul Fisher inspired his band to new heights (the three consecutive promotions a first since the Spring Featival was revamped in 2002).

He himself admitted to some disbelief, although tellingly he later told 4BR that he also felt they had played well enough off the early number 5 draw to more than hold their own as the day wore on.

And as a proud North Walian, also added that in small way it seemed his band was equally inspired by the success of his favourite football team, Wrexham. "They've just enjoyed a hat-trick of promotions, so perhaps it was meant to be. We really put in the hard work on this as it was a new level of contesting for us.

I was pleased at how we played and felt we were in with a decent chance of making an impression on the prizes, but this was still an incredible bonus."

He added: "Now we've got a BBC documentary to record in a few weeks and a busy autumn heading towards the British Open, so we will celebrate quickly and then get back to work."

Those who wish to emulate them in 2026 had better tune in.

Malcolm Wood

In his written remarks, he described it as, "An excellent performance full of character and energy!" and one that was brought to "a dramatic climax"David Barringer

Result:

The Grand Shield:

Test Piece: Dance and Arias (Edward Gregson)
Adjudicators: Lt Col David Barringer MVO MBE; Stan Lippeatt

1. EverReady (Stephen Roberts)*
2. Amersham (Paul Fisher)*
3. Hepworth (Ryan Watkins)
4. Desford Colliery (Ian Porthouse)
5. St. Dennis (Darren Hawken)
6. Rothwell Temperance (David Roberts)
7. Fishburn (Chris Bentham)
8. Redbridge (Chris Bearman)
9. Friary Brass (Nigel Taken)
10. GUS Band (Dr David Thornton)
11. NASUWT Riverside (Prof Nicholas Childs)
12. Camborne Town (Gareth Churcher)
13. Northop (Ryan Richards)
14. City of Bradford (Lee Skipsey)
15. Wantage (Chris King)
16. Stannington Brass (Sam Fisher)
17. Rainford (Sarah Groarke-Booth)**
18. Wingates (Matt Ryan)**
19. Ashton under Lyne (Paul Lovatt-Cooper)**
20. Skelmanthorpe (Gareth Brindle)**