conversely, andrew clements of "the guardian" described the piece as "seem[ing] rather formulaic." 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." he concluded, "lucky is the soloist who has conductor alsop as an ultrasensitive concerto partner, but despite her and her musicians' best efforts, grime's percussion concerto came off as unimpressively bland."