[1] Reviewing the world premiere, Richard Fairman of the Financial Times wrote that "the premiere of Helen Grime's Percussion Concerto [...] imagined an orchestral kaleidoscope of flickering lights and perfectly judged timbres," adding, "For her and the LPO this must have been an evening of hard work, but it paid dividends.
"[2] Conversely, Andrew Clements of The Guardian described the piece as "seem[ing] rather formulaic.
"[3] Patrick Rucker of The Washington Post was also critical of the piece, observing, "The orchestration was carefully balanced, so when Currie's solos were accompanied at all, it was usually quietly.
Yet Grime didn't exploit two dynamic elements of the concerto form: dialogue between soloist and orchestra, and the dramatic potential of the individual juxtaposed against the crowd.
Also curious for a percussion concerto was the absence of strong rhythmic character."