Tim Benton

I can’t recall a time when I didn’t sing. Primary school concerts led to a high school folk duo and a brief but meaningful fling with Peter, Paul & Mary. Then came school bands, pub bands (once I looked old enough), and dancehall gigs covering great songs of the ’60s and ’70s.
Musical theatre came next, thanks to the elegance of Freddy Eynsford-Hill in My Fair Lady. I sang decent roles in Les Misérables, Jesus Christ Superstar, Evita and more. Then I decided I must be an opera singer. I wasn’t — but I loved the music, relished the challenge, and even took a few small roles.
I’d dabbled in classic Porter-Gershwin-Kern material, but it was only in London that I truly discovered cabaret — especially through Barb Jungr and her idea of a ‘New American Songbook’, celebrating songs of my own generation.
That was a real spark: the chance to bring fresh songs into a cabaret setting. It was a way to bring together all my singing adventures, plus the life experience of my accumulated years.
I love uncovering fresh meanings in great lyrics and sharing them with live audiences. There’s so much terrific songwriting out there — old, new, and still to discover.