Toni Castells is an independent artist and composer based in London, known for creating eclectic sonic worlds that blend dreamy, cinematic, and poetic soundscapes. His music draws from a wide array of musical traditions, transcending traditional boundaries and defying genre categorisation.

Castells’s compositions are deeply spiritual and transcendental, designed to connect listeners with altered states of consciousness and heightened awareness. As a PhD candidate in biomedical engineering, he studies the effects of sound and music on the heart, focusing on methods to maximise Heart Rate Variability (HRV) and reduce chronic stress. His research informs his work in sound healing, with a particular interest in creating music for psychedelic therapy to address chronic depression.

Castells’s music has been described as:

• “Massive Attack meets Mendelssohn” by Ben Roberts, London Tourdates magazine.

• “Morricone meets Satie” by Michael Haas, the Grammy-winning producer behind recordings of Zubin Mehta, Mstislav Rostropovich, Daniel Barenboim, Cecilia Bartoli, and Luciano Pavarotti.

• “Puccini meets Sigur Rós” by the US label Magnatune.

His live performances have been recognised by The Guardian, making it to their ‘Five of the Best Classical Concerts’ in 2016, and his work has been featured extensively in UK and Spanish media outlets.

As an independent artist, Castells releases his music through his own label, Interstellar Music, maintaining full creative freedom over his projects.

Whoami +

I was born in Berga, Spain, on 3 January 1976. My love for music emerged at an early age, inspired by listening to ABBA's Chiquitita as a 3-year-old—the theme song of a popular Spanish TV show at the time. At age 4, I was reluctantly accepted into the local music school, where my older brother had recently enrolled, even though I was two years younger than the minimum age requirement.

Academically, I excelled and was certified as ‘gifted’ at age 6. My story was later featured in Maria Teresa Gomez Masdevall’s book, High Capacity in Boys and Girls: Detection, Identification and Integration within the School and the Family. While I once viewed this label as more of a curse than a gift, time has taught me to embrace gratitude for the opportunities and experiences I’ve had.

At 6, I began studying the guitar as my primary instrument, teaching myself piano when practice rooms were available. I later studied the clarinet, although it never resonated with me in the same way. At 14, I advanced to the Conservatori Municipal de Música de Barcelona, where I deepened my musical studies. One of my early compositions, Imatges—an experimental piece for flute and piano—received third prize (ex-aequo) at the St. Joan de Vilatorrada Composition Prize.

At 18, I reluctantly began my university studies, enrolling at La Salle University for a BSc in Telecommunications Engineering (Sound and Image Specialisation). After graduating with Distinction, I continued for an additional two years to complete an MEng in Electronic Engineering (Sound and Image Specialisation).

In my fourth year, I took a module called Digital Audio, taught by Joan Trayter, a La Salle alumnus who had gone on to establish one of Spain's leading recording studios, Musiclan Studios in Avinyonet de Puigventós, near Figueres. Impressed by my interest and dedication, Trayter invited me to intern at Musiclan during the summer. Upon completing my degree the following spring, he offered me a full-time position as an Assistant Engineer. I eagerly accepted and moved to Figueres, staying with my beloved Abuelita Maria, who lived nearby.

Learning the Craft at Musiclan

At Musiclan, I started as a tea boy, armed with theoretical knowledge but little practical experience in real-world studio recording. Under the mentorship of Joan Trayter and Jordi Solé—Musiclan's co-founder, who still runs the studio today—I quickly learned the art of recording, mixing, and producing music.

Over the next two years, I had the privilege of working with some of the most celebrated Catalan and Spanish artists, including:

• Lluís Llach, Peret, Jarabe de Palo, Enrique Bunbury, Loquillo, Andrés Calamaro, Macaco, Ojos de Brujo, Elefantes, Sopa de Cabra, Quimi Portet, Gossos.

• Renowned producers like Micky Forteza-Rey, Suso Sáiz, and Jon Caffery.

• On international projects, I contributed to Unsterblich by the German punk-rock band Die Toten Hosen.

Working long hours in a bustling studio provided unparalleled experience but also began to strain my personal and creative life.

I arrived in a cold and rainy London in August 2000 and checked into a B&B in Earl's Court, sharing a small room with four other people. The nights were restless, filled with snoring sounds, but my excitement about being in London kept me energized during the day. I spent my time exploring the city, searching for rare bootleg recordings, attending live music performances in pubs, and losing myself in the city’s meandering streets.

Before leaving Musiclan, I had worked with Enrique Bunbury, one of the most prominent and international figures in Spanish rock. A wonderful and humble person, Enrique encouraged me to reach out to José María Cano, a fellow Spanish artist and former member of the iconic 80s band Mecano, who had established himself in London after the band’s split. Enrique had given me José María’s phone number, and on my third day in London, curiosity got the better of me, and I gave him a call. To my surprise, he invited me to dinner the following day.

From B&B to Holland Park

When I met José María, he explained his situation: his home studio engineer, a Spanish man named Alex, was leaving after growing fed up with working on José María’s first solo pop album. This left him in need of someone to help finish the project. I accepted, thinking it would be a short-term opportunity, perhaps just a few days, but also a chance to experience something new.

I moved out of the B&B and into his Holland Park townhouse, where I traded snoring roommates for walls adorned with Bacons, Schnabels, Warhols, and Basquiats. Over the next few months, we re-recorded all the vocals for the album and I mixed the tracks, completing the project in November 2000. By this time, my job and life in Figueres had quietly faded into the past.

Collaborations Beyond the Album

Although my initial work with José María was temporary, I continued to collaborate with him sporadically on other projects. Among these was the Centenary Anthem for Real Madrid, performed by the legendary Plácido Domingo, which remains one of the most memorable experiences of my early years in London.

In the summer of 2000, while working at José María Cano’s home studio, I met Àlex, a generous and talented Spanish engineer. During our conversations, Àlex told me about a job advertisement in The Guardian for the position of Assistant Engineer at the RCM Studios at the Royal College of Music. His gesture was particularly selfless, as he had been considering applying for the same role. I remain deeply grateful for his kindness and support.

Encouraged by Àlex’s recommendation, I submitted an application that summer. However, I never received a response and assumed the opportunity had passed. During a visit home for Christmas, my mother mentioned that a letter from the Royal College of Music had arrived while I was away. To my surprise, I had been invited for an interview in February 2001.

The Royal College of Music: A Stable and Fulfilling Chapter

The interview was conducted by Michelle Kent, the studio manager at the time, and David Burnand, RCM’s Head of Music. I was thrilled to be selected and offered the full-time position. For the first time in a long while, I felt I had found a stable and fulfilling home.

I spent the next five years at the RCM, working across a wide range of projects. My role included studio work as well as live recordings of opera productions at the RCM Britten Theatre and concerts by various RCM ensembles. I had the privilege of recording the RCM Symphony Orchestra on multiple occasions under the direction of legendary conductors such as Lorin Maazel, Bernard Haitink, Roger Norrington, and many others.

My time at the Royal College of Music provided me with much-needed stability and creative space to begin exploring my artistic voice. It was during this period that I conceptualized the Momo project, an endeavour to merge my lifelong passions for classical and popular music, two distinct strands that had previously run in parallel without intersecting.

On 23 October 2006, I independently released a self-produced album entitled Unharmed. The album featured an impressive roster of collaborators, including:

• Amelia Whiteman, a classically trained soprano.

• Elisabeth Rodergas (Beth), the Spanish singer who represented Spain in Eurovision 2003, finishing in eighth place. Beth gained international recognition when Terry Wogan famously referred to her as the "Kylie Minogue in dreadlocks."

• Roberta Howett, a Dublin-born singer who reached ninth place in the inaugural UK series of The X Factor in 2004.

With distribution by AWAL, a then newly launched platform for independent artists, Unharmed debuted in the iTunes Top 20 download charts, marking an exciting milestone in my journey as an independent artist.

Curious to explore the live possibilities of Unharmed, I adapted the album for the stage, collaborating with the acclaimed Sacconi Quartet. Our friendship began during our time at the Royal College of Music, and their classical expertise provided the perfect complement to my singers, laptop, and electric guitar. To create a visual identity for the show, photographer Conor Masterson contributed a stunning visual backdrop using his original material.

The self-produced show had a soft premiere on 12 June 2007 at the Roxy Bar and Screen in London, followed by its official premiere on 23 July 2007 at Bush Hall, also in London. The performance received critical acclaim, earning 8/10 stars from Whisperin’ & Hollerin’, and was featured by Julia Stuart in The Independent under the headline Pop Goes Mozart.

In the lead-up to the Bush Hall premiere, I was interviewed by Classic FM’s Bob Jones and featured in an article on the station’s website entitled Classical Music Mix-Up. The piece explored the intersection of classical and contemporary music, featuring myself alongside Blur bassist Alex James and composer Gabriel Prokofiev, the great-grandson of Sergei Prokofiev.

Touring the UK and Spain

Between 2007 and 2009, I toured the show across the UK and Spain, performing at venues such as The Stables in Milton Keynes, FNAC in Barcelona, and the Mercat de Música Viva in Vic, Spain. The tour also featured collaborations with Icelandic photographer Maria Kjartans, whose evocative visuals enriched the live performances.

Performance Highlights:

• Roxy Bar and Screen (London) – 12 June 2007

• Bush Hall (London) – 23 July 2007

• Ginglik (London) – 14 May 2008

• The Bedford (London) – 15 May 2008

• The Cuckoo Club (London) – 10 September 2008

• Roadtrip (London) – 11 September 2008

• The Stables (Milton Keynes) – 12 September 2008

• FNAC (Barcelona) – 19 September 2008 (Promotional gig)

• MMVV Festival (Vic, Barcelona) – 20 September 2008

• Casino (Caldes de Montbui, Spain) – 25 April 2009

• Formentera (Spain) – 23 July 2009

• UNNIM Auditorium (Sabadell, Barcelona) – 17 September 2010

After two years with Momo, I felt the need to explore new artistic voices and seek a more simple and direct way to connect with audiences. In 2009, this impulse led me to create an alter ego named Famous Jack.

Famous Jack drew inspiration from a wide range of influences, blending the aesthetics of British post-punk New Wave and Art Glam Rock icons such as David Bowie, Joy Division, and Roxy Music with the introspective depth of American counterculture singer-songwriters like Bob Dylan and Pete Seeger. Additionally, I looked to timeless artists like Leonard Cohen and Jeff Buckley while also capturing the innovative soundscapes of emerging artists such as Anna Calvi, St. Vincent, MGMT, and M83.

Performing Solo with a Twist

During these performances, I often played electric and acoustic guitar, accompanied by an iPod providing the backing track. Occasionally, I was joined by my dear friend Bea Deza on drums. I experimented with the harmonica, channeling Bob Dylan, albeit with my own interpretation.

Famous Jack embraced a theatrical, androgynous aesthetic, often dressing in gold, my favorite color, as I sought to merge my music and persona into a cohesive artistic expression.

After a few years as Famous Jack, I found myself yearning for my original project, Momo. However, with the rise of globalization brought by the online music revolution, it became evident that sharing the name "Momo" with several other bands worldwide was creating confusion. This realization led to a turning point: I retired the name Momo and embraced my own identity as Toni Castells.

Through José María Cano, I was introduced to Michael Haas, a legendary Grammy-winning classical music producer at Decca. Michael, who had worked with some of the greatest names in classical music, surprisingly liked my music. Our paths first crossed in 2002 when I assisted him during the recording of Albéniz’s opera Henry Clifford in Spain. I discovered not only a master of his craft but also a kind, generous, and deeply passionate lover of music.

Years later, in 2010, Michael reached out to introduce me to American soprano Rebecca Nelsen, whose voice he believed perfectly suited my compositions. At the time, Rebecca was – and remains – the lead soprano at Vienna’s Volksoper and had been hailed as “a star” by The Wall Street Journal.

The London Trilogy: A Journey of Impermanence

In 2011, I began collaborating with Rebecca Nelsen. Her voice brought a new dimension to my work, helping me discover the sound that became the foundation for my next creative phase. This collaboration marked the beginning of The London Trilogy, a series of three chamber works inspired by Buddhist philosophy and its First Dharma Seal – the Law of Impermanence.

The Law of Impermanence teaches that everything in material existence is transient: everything has a beginning, a middle, and ultimately, an end. The Greek philosopher Heraclitus expressed this beautifully: “No man ever steps in the same river twice, for it's not the same river and he's not the same man.” Life is a constant flux, and resistance to this truth often leads to suffering. Acceptance, however, allows us to flow harmoniously with life.

From 2012 to 2018, my personal life mirrored the themes of impermanence. I experienced profound love and loss, grappling with the reality that life does not always align with our desires. The resistance led to depression but also initiated a journey of self-discovery, self-love, and acceptance. The London Trilogy became a reflection of this transformative journey.

The Works of The London Trilogy

The trilogy comprises three chamber works:

• Life from Light (2012)

• 2045: The Year Man Becomes Immortal (2016)

• Hhumann X (2018)

Interestingly, the trilogy was not composed in chronological order. The first two works explore themes of birth and death, while the final piece reflects on the journey in between. Each work began as a studio album – sketches created in my home studio – which later evolved into fully realized compositions.

Life from Light (2012)

Life from Light was initially sketched in my 2011 studio album Creation, with Rebecca Nelsen featuring prominently. The piece was inspired by a chapter of the BBC documentary series How To Grow A Planet, in which Professor Iain Stewart explores the mechanisms that brought life to Earth. The work reflects on what it means to be human, our relationship with the natural world, and the irreversible damage caused by our actions.

The premiere of Life from Light took place on November 15, 2012, at Union Chapel in London. The performance featured The X-Factor finalist Roberta Howett, soprano Susan Jiwey, countertenor Oliver Gerrish, and video artist Thomas Yeomans.

In 2014, by invitation of the Tête-à-Tête Opera Festival and with funding from Arts Council England, Life from Light was performed at London’s Kings Place Hall One. This performance brought together Roberta Howett, Oliver Gerrish, soprano Meeta Raval, Classical Brit nominee Camilla Kerslake, and Cuban jazz trumpeter Yelfris Valdés.

Following Life from Light, I composed a group of three pieces collectively titled Triptych. These works hold a special place in my heart and are arguably some of the most important pieces I’ve ever written. The Triptych includes:

• Nile Lilies

• Slaves of Time

• Foolish Child

These pieces marked a significant chapter in my life, serving as a metaphorical bookmark in my Lifebook.

Nile Lilies reflects on the very moment of death – the instant when, according to ancient traditions, the spirit leaves the body. The piece explores the profound question of whether a man’s success in life can truly be measured by who will stand by one’s side at that pivotal moment.

Slaves of Time was inspired by Homer’s epic poem The Iliad, particularly the conversation between Achilles and Briseis. In this fragment, Achilles muses, “The gods envy us. They envy us because we’re mortal, because any moment may be our last. Everything is more beautiful because we’re doomed. You will never be lovelier than you are now. We will never be here again.” This piece delves into the ephemeral beauty of life and how mortality enhances the significance of every fleeting moment.

Foolish Child draws its inspiration from Gary Jennings’ novel Aztec (1980). The piece questions the futility and naivety of dying for an ideal, whatever it may be, even if there is an afterlife. It challenges the notion of sacrificing oneself for a cause, emphasizing the fragility and preciousness of life.

From Triptych to Slaves of Time

The Triptych became the core of what would later evolve into my studio album, Slaves of Time. In this work, I expanded my exploration of death, delving deeper into themes of destiny, time, and mankind’s relentless obsession with trying to control both. Slaves of Time provided a solid foundation for the creation of my next major work, 2045: The Year Man Becomes Immortal.

2045: The Year Man Becomes Immortal

2045: The Year Man Becomes Immortal takes its name from the eponymous Time Magazine article by Lev Grossman (Grossman 2011). The article explores the vision of Ray Kurzweil, Google’s chief engineer, regarding the Technological Singularity – a new era that the techno-scientific community predicts could arrive by 2045, in which technology will enable humans and machines to merge. According to this paradigm, humans could effectively become machines, halting the ageing process and allowing us to live indefinitely.

Through this imagined future, the piece delves into profound questions: Is there a purpose to being mortal? Is there a purpose to dying? It reflects on the efforts of our technocratic society to overcome death and questions whether such ambitions align with the natural order of life. Ray Kurzweil himself granted permission for his voice and teachings to be incorporated into the work, adding an authentic and thought-provoking dimension.

2045: The Year Man Becomes Immortal’ takes its name from the eponymous Time Magazine article by Lev Grossman (Grossman 2011). The article explores Google’s chief engineer Ray Kurzweil’s view on Technological Singularity, a new era that the techno-scientific community have predicted to be possible by 2045 in which technology will finally allow for man and machine to merge, converting us effectively into machines, allowing us to stop ageing and live indefinitely.

Through this paradigm of the future, I explore the efforts of our technocratic society to overcome death, wondering essentially whether there's a purpose to being mortal, and whether there's a purpose to dying. Ray Kurzweil gave permission for his voice and teachings to be used in the piece.

Premieres and Reception

2045: The Year Man Becomes Immortal premiered on 6th July 2016 at St. James's Church in Piccadilly, London, featuring countertenor Oliver Gerrish and soprano Meeta Raval, in collaboration with the Tête-à-Tête Opera Festival.

The piece received its second performance just days later, commissioned by Viscountess Cowdray, Lady Marina Cowdray, at Cowdray Park on 9th July 2016. On both occasions, the work was met with standing ovations and unanimous praise from the audience.

The piece gained further recognition, being selected as one of The Guardian's 'Five of the Best Classical Concerts', and it also received coverage on BBC Radio 3.

Hhumann X: The Final Chapter of The London Trilogy

For the last piece of The London Trilogy, I wanted to explore loneliness – the kind I was feeling so intensely during those years and the kind many others feel, even while surrounded by people. I sought to delve into social isolation in an era of technological hyper-connectedness, a paradox that I found profoundly worth exploring. Hhumann X emerged as an exploration of this modern-day loneliness, an introspection on isolation in our world and in our time.

The piece is a call to build bridges: bridges between individuals to overcome social isolation and, just as importantly, bridges within ourselves – reconnecting with our true nature and purpose.

At the heart of Hhumann X is a recurring mantra taken from a poem by the 13th-century Persian poet Rumi: “Do you know what you are?” This opening line forms the repeating question throughout the piece, inviting the audience to reflect on their identity and inner self.

Premiere and Collaboration

Hhumann X premiered at LSO St Luke’s in London on 20th October 2018 to a sold-out audience. The performance was a collaboration with More Than Just a Choir, a North London-based community choir that supports individuals suffering from mental illness and social isolation. The choir helps its members rebuild confidence while fostering connections with the wider community. This collaboration strengthened the meaning of the piece, as the choir members embodied the themes of the work, overcoming isolation through music and community.

Reception and Media Attention

The premiere garnered significant media attention, with coverage from major outlets such as the BBC, London Live, and The Telegraph. The main theme of Hhumann X also featured on BBC Radio 4's series The Anatomy of Loneliness, which began broadcasting on 2nd October 2018.

In preparation for the premiere, Bulgarian video artist Tereza Duchlevová collaborated with actor Boyan Feradjiev to create a series of engaging YouTube trailers, adding a visual narrative to the piece and its themes.

Plácido Domingo and José María Cano - Real Madrid CF Centenary Anthem (2000-2003)

In 2002, I had the privilege of working with José María Cano on the recording and mixing of the Centenary Anthem for Real Madrid CF, titled Hala Madrid!. The anthem, composed by José María Cano himself, featured the iconic tenor Plácido Domingo and was created to celebrate the Spanish football club's 100th anniversary. This project was a unique blend of music and sports, uniting two of Spain’s most beloved cultural pillars.

Campos de Oro – Translating Sting’s Fields of Gold for Noah Stewart and Decca Records (2011–2012)

In 2011, I was commissioned by leading classical label Decca Records to translate Sting’s iconic hit Fields of Gold into Spanish, resulting in the beautiful rendition titled Campos de Oro. This track was intended for inclusion in American tenor Noah Stewart’s self-titled debut crossover album, Noah, released in 2012.

Beyond the translation, I became Noah’s vocal coach for this track, guiding him through the recording process at Metropolis Studios in London. The album’s success was historic, as Noah reached number one on the UK Classical Album Chart and held that position for an impressive seven weeks, making Noah the first black musician to achieve this milestone.

Hayley Westenra - American TV Appearance with Naturaleza Muerta (2013)

In 2013, Decca Records commissioned me once again, this time to coach renowned crossover artist Hayley Westenra for an upcoming TV appearance in the United States. She performed a crossover rendition of Naturaleza Muerta alongside Greek tenor *Mario Frangoulis.

The song, a hit track originally released in 1991 by Mecano, the legendary Spanish pop band led by my dear friend José María Cano, was reimagined for this special performance. It was a privilege to contribute to bringing this timeless classic to a new audience through such talented artists.

Songwriting Collaboration with Catty Pearson – Time Tells Me EP (2017–2018)

In 2017 and 2018, I embarked on a songwriting collaboration with British singer-songwriter and dear friend Catty Pearson, co-writing several tracks for her independently released debut EP, Time Tells Me (2018).

The EP was produced by the legendary Chris Kimsey, renowned for his work with The Rolling Stones, and recorded at the iconic Olympic Sound Studios. It was an incredible experience to contribute to Catty’s deeply personal and beautifully crafted debut.

Music Collaboration for Liam Hodges – London Fashion Week (2019)

In October 2018, renowned British fashion designer Liam Hodges invited me to compose music for his London Fashion Week presentation of the 2019 Fall/Winter collection, Mutations in the 4th Dimension.

For this project, I collaborated with Elliott Liu and soprano Honey Rouhani. Elliott reworked and remixed three tracks from my Hhumann X album (Dancing in Space, Hhumann X, and The Seeker), creating a unique soundscape for the show. To elevate the performance further, Honey Rouhani delivered a stunning live vocal performance in the middle of the catwalk, blending music and fashion in a captivating and innovative way.

Soundscape for Cyril de Commarque's Artificialis – Saatchi Gallery (2019)

In 2019, I collaborated with artist Cyril de Commarque to create the soundscape for his multi-media installation, Artificialis. This piece was featured as part of the Saatchi Gallery's Artist-In-Residency programme, presented alongside another multi-media installation by Kate Daudy. Both works were created in response to the landmark exhibition Tutankhamun: Treasures of the Golden Pharaoh, which ran at the Saatchi Gallery from November 2019 to May 2020.

These installations invited viewers to reflect on themes of legacy and transition, drawing parallels between ancient history and contemporary issues. Prior to its London debut, Tutankhamun: Treasures of the Golden Pharaoh broke records in Paris, attracting over 1.3 million visitors and becoming the most-visited exhibition in French history. It was an honour to contribute to such a thought-provoking and celebrated project.

'Buy Music Get Art' (2008)

In 2008, I launched the groundbreaking Buy Music Get Art scheme, a first-of-its-kind initiative where contemporary art was sold in shares through a limited edition music CD. Norwegian artist Edvarda Braanaas's Ceci n'est pas une fille was divided into 100 shares, with each share sold alongside 100 limited edition CDs of my 2007 performance at Bush Hall.

The scheme debuted at the Maddox Arts Gallery in Mayfair during the opening of Viva Lolita, an exhibition curated by James Putnam, merging the worlds of contemporary art and music in a truly innovative way.

'Love in the Sky' (2007–2009)

In 2007, I initiated Love in the Sky, a collaborative project aimed at capturing the essence of LOVE through visual art. The project brought together a collective of young, emerging artists who collaborated to create unique pieces inspired by this universal theme.

Thanks to funding from the Lottery Fund and in collaboration with Nina Rennie-Gustard from Nueluxe, Love in the Sky launched successfully on June 30, 2009, at the Institute of Contemporary Arts (ICA) in London.

Participating artists included Colin Barnes, Goldie, Max Lowry, Hoda Mazloomian, Leah Wood, and Ada Zanditon, among others. The collaborative works were auctioned during the launch by ex-Sotheby's and Christie's auctioneer Terence Rodriguez, raising over £8,000 for Coram, a charity supporting underprivileged children since 1739.

List of all participating artists: Colin Barnes, Matt Black, Rudy de Belgeonne, Johnny Blue Eyes, Nigel Burnett Hodd, Ned Conran, Liz Dalton, Goldie, Gary Harvey, Eleanor Lyndsay-Finn, Max Lowry, Bruno Maag, Munir Malik, Hoda Mazloomian, Natalie Meyjes, Ben Moore, Jody Norbury, Paul Persky, Dan Prescott, Petroc Sesti, Sara Shamsavari, Baccara Smart, Stedhead, Zak Walters, Leah Wood, Ada Zanditon.

Xmas Rocks for Charity (2007)

In December 2007, I founded Xmas Rocks for Charity, a Christmas fundraising concert held at the Notting Hill Community Church. The event raised funds for Depression Alliance and the Mood Foundation, organizations dedicated to supporting mental health. This heartfelt initiative combined music and community spirit to bring people together during the holiday season for a good cause.