Music – Page 3 – A Young(ish) Perspective

REVIEW: Legends of Irish Music and Song: The Fureys Farewell Tour

Published on March 25, 2026March 25, 2026 by Ross BevanLeave a comment

The passing of time has done nothing to dull the talent of these Irishmen, absolutely sensational

Embarking on what is being dubbed as their farewell tour, The Fureys took to The Beacon stage and reminded everyone why this theatre included the word legends in the title of this show. With stories as well as songs, these talented Irishmen provided a full rundown of their 48 years as a group.

It is truly astonishing the level of quality this band are still able to play to. If 48 years in the business didn’t give it away, these are not young men, as they acknowledge themselves. They perform as if time hasn’t grazed them and to call what they do a gift would not be overselling anything. It’s not just their singing abilities, which are stellar but their abilities as musicians which sincerely amaze. The speed and intensity with which they play defies logic. The skill with which they apply their craft is not only wonderful to hear, it’s a sight to behold it. It really has to be seen to be believed and blew the audience away. There were moments throughout the evening where the floor was actually vibrating from everyone tapping their feet simultaneously.

Many of the hits from their back catalogue made it into the mix such as The Red Rose Café and The Grand Affair to great success. They also sang some of their well-known covers such as Leezy Lindsay, originally written by Robert Burns and even closed with Wild Mountain Thyme, giving the Scottish audience a taste of music from home. The Green Fields of France, a song popularized by the group, was a pensive, emotional moment and deeply moving. Eddie Furey had everyone singing along during Steal Away and From Clare To Here was one of the most beautiful musically. A personal favourite was The Old Man which really struck a chord as George Furey sang of a father/son relationship, the father having passed but how the “memories linger on”. Sweet and sentimental, this was a lovely moment in the early stage of this concert.

The Fureys also treated us to many sections that were purely instrumental and this is where their abilities as musicians shined out the most. These were often fast and furious, gaining momentum and intensity which each passing second. It was as if the 5 of them were in contest with one another, trying to see who could play the fastest. If it was a contest, accordion player Camillus Hiney probably stole the crown. How his fingers were able to move at that speed is a mystery. Perhaps the best moment of the entire night was instrumental and funnily enough, the calmest of all. The piece in question was The Lonesome Boatman. Beautiful, mysterious, enthralling, it felt as if everyone was on a journey together to some distant land. The tin whistle especially helped to create that affect. It was, unquestionably, a standout moment.

Overall, this was an incredible evening! The Fureys are indeed legends of Irish music and this was a testament to that. The band has touched many and it was felt in the audience through their cheers and every song they joined in with. There’s something about Irish music that makes you feel it in your bones, makes people feel present and The Fureys did that.

REVIEW: Witches Corner

Published on March 24, 2026March 24, 2026 by Iona GoodallLeave a comment

A wild, witchy blend of past and present feminist struggle.

“Bob’s your uncle, Fanny’s a witch!” runs the refrain of the amateur witchfinders in Encapulus Productions’ play Witches Corner. It’s an unabashedly feminist telling of a local, historical story with universal themes of the struggle of women to be heard by a patriarchal society that will do all it can to keep them silent.

The Pittenweem Witch Trials of 1704 isn’t a story many people will know well, although it’s easy enough to guess – women falsely accused, outsiders turned into scapegoats, and a boy who lied getting away scot free. But through Eilidh Smith’s script we examine the depth behind historical fact, introducing the brash Beatrice Layng (Sydney Mulligan), the first accused; the clinical (and sadistic) Patrick Cowper (Alannah Skellett), the minister who led the hunt; and the desperate Janet Cornfoot (Gracie Spencer), throwing herself to the mercy of people who would never believe her. She also links it with the modern day through a present-day Pittenweem girl (Lori Stott) and her grandmother (Lorna MacFarlane), who both uncover the story of the past and relive it.

The ensemble cast alternate roles throughout the play between victims and perpetrators, comedy and deep grief, set to songs composed by Rona Johnston. The play thrives when it lives at the extremes of these emotions. The amateur witchfinders previously mentioned (played by a foul-mouthed Lorna McFarlane and an effortlessly funny Sydney Mulligan) had the audience roaring with some audience interaction in demonstrating witchfinding techniques – Alannah Skellett’s song as Father Cowper had a sinister, sexual energy – and Gracie Spencer’s final solo song as Janet was tear-jerking and powerful. However, the play sometimes struggled to bridge the gap between the high and low points, with some scenes not quite hitting their comedic marks.

It also felt like the play was full of characters and events, and perhaps could have been stronger by focusing on just 2 or 3 stories of victims, allowing us more time with them – Sydney Mulligan late in the play had a great monologue as a beautiful girl, cast aside and eventually hunted once no longer desired – but I don’t ever think we heard her called by her name in the script, nor did she interact with the other characters.

The production was kept moving throughout by atmospheric on-stage music from the 5 cast members and seamless costume changes. The symbolism of the crosses hanging one by one on the backdrop as each woman fell victim to the hunt was simple, but hung as a constant reminder of the village’s loss.

Witches Corner is a rollercoaster of a story that, despite a touch of girlboss-feminism slant, forces recognition of the suffering of women for nothing more than being themselves. In 1704 and in 2026, in Pittenweem and across the country, witches need to stick together.

This show has finished its run. Find more at the Scottish Storytelling Centre here – https://www.scottishstorytellingcentre.com/

Photograph Via Royal Albert Hall Website

REVIEW: Duo Eunoia

Published on March 24, 2026March 24, 2026 by Natalie BorensteinLeave a comment

Perfect for a spring afternoon

On Sunday, 22nd March, Duo Eunoia brought the Royal Albert Hall’s Classical Coffee series to a close. This renowned programme is part and parcel of the venue’s long-standing partnership with the Royal College of Music, offering audiences a chance to hear young talent perform in an intimate setting. Coffee and pastries are served in the Elgar Room as you settle into the programme of your choice, sipping a hot drink with a view of Kensington Gardens’ opulent Albert Memorial. It is a charming activity for a lazy weekend in the city.

Duo Eunoia is especially well-suited to this kind of event. Comprising violinist Inês Delgado and pianist Laura Casas Cambra, the duo specialises in softer performances that nurture imagination and connection. Their name, ‘eunoia’, is of Ancient Greek origin, and translates as ‘beautiful thinking’ or a ‘well mind’. It reflects ‘the beauty of a harmonious and positive outlook on life, marked by receptivity, goodwill, and kindness towards others’, all of which were palpable in their performance. Duo Eunoia’s stage dynamic was warm and inviting throughout, ideal for the concert-lecture format.

Their programme this Sunday included a range of pieces: some by household names such as Maurice Ravel and Enrique Granados, and others by lesser-known or contemporary composers such as Isobel Dunlop and Marika Takeuchi. Inês and Laura introduced each of them beautifully, bringing to life the mystical desert that inspired Elena Kats-Chernin’s Bucharian Melody, the whimsical Alice in Wonderland scenes illustrated by Roxana Panufnik’s Down the Rabbit Hole, and Carlos Paredes’ nostalgic reminiscences of youth in Verdes Anos.

Beyond simple scene-setting, Duo Eunoia also offered the audience intriguing technical insights. Before performing Violin Sonata M.77, II. Blues—Ravel’s response to the explosion of American jazz in 1920s Paris—Inês provided a brief demonstration of ‘strummed pizzicato’, a technique that allows the violin to imitate a guitar. Similarly, Laura explained the technical preparations required to perform Marika Takeuchi’s Memories. By applying white tack to the piano strings, she temporarily muted the keys to produce a muffled, woody tone. The percussive quality worked well for Takeuchi’s piece, immediately conjuring images of sleepy rainfall.

By the end of the programme, everyone was thoroughly relaxed. Both Inês and Laura are talented, expressive performers who clearly take great care in how they present the music and connect with the audience. Their Classical Coffee concert was a very human affair, and while much of their repertoire is lyrical, easy-listening music, sometimes that’s just what you fancy. After all, it’s better to save Rachmaninoff’s Prelude in C-sharp minor for those times when you aren’t holding a vanilla Danish and a latte!

Duo Eunoia ended its run on the 22nd of March. Tickets for other Royal Albert Hall shows can be found here – https://www.royalalberthall.com/tickets

REVIEW:Chamber Music Festival: Sunday Afternoon Concert – Pärt, Mozart, Bridge and Vierne

Published on March 24, 2026March 23, 2026 by Victoria AshfordLeave a comment

A relaxing showcase of classical music

For one weekend only, the Guildhall School presents a music festival featuring student-professor collaborations showcasing talented current students, performances in collaboration with the Yale School of Music, as well as a performance from the Elemore Quartet. The Sunday afternoon concert features compositions by Mozart, Frank Bridge, Arvo Pärt and Louis Verne.

The pieces were captivating and executed to perfection, showcasing, as always, the incredibly talented students at the Guildhall School. Some pieces sounded familiar, probably because they had been used on a film’s soundtrack, but there was a good balance of unfamiliar too, though that depends on how knowledgeable you are about classical music. Even if you aren’t, the pieces selected were uniquely beautiful and it was very easy to appreciate the talent of the composer and the performance. The concert also highlighted how talented the professors are and the experience that they bring to the school, and it was good to see both student and teacher perform alongside each other, something that almost feels unique.

The only thing that let down the overall concert a little was the changeover in performances, which felt somewhat slow, and the audience did chat amongst themselves whilst the stagehands set up. Likewise, instruments being tuned up on stage felt unnecessary and something that could have been done backstage, but it didn’t seem to bother the audience and perhaps it is quite normal for that to happen. With the afternoon feeling relaxing, maybe a quicker turnaround would have killed the atmosphere.

Overall, the pieces were performed wonderfully, and it was a lovely way to spend a Sunday afternoon. It was very easy to get swept up in the music, though not knowing much about classical music, there were times where the whole concert did feel a little repetitive, even though obviously there were several different compositions. But this didn’t appear to affect any other audience members, so it could just be a personal response.

The students are incredibly talented, and any show I’ve seen performed by the Guildhall School has been professional and high quality. If you are a classical music fan, or even if you are not, it was an enjoyable showcase of classical pieces. In one piece, a professor even gave a little backstory as to why it was chosen, which was a nice touch as it might not have been known to everyone in the audience. This show’s run has now concluded, with it being played at Milton Court Concert Hall.

REVIEW: Horrible Histories LIVE (AND DEAD)! – The Concert

Published on March 23, 2026March 23, 2026 by Ross BevanLeave a comment

Whether you grew up with it or are being raised with it now, Horrible Histories is perfect for all ages

There was real buzz in the air of the Theatre Royal as fans young, old and in-between gathered for Horrible Histories: LIVE (AND DEAD)! – The Concert. Based, of course, on history but also the original works by Terry Deary, Horrible Histories has been an ongoing television show since 2009 with songs written and composed by Richie Webb. As both band and cast member, Webb is a solid example of the meta, fourth-wall breaking joy this concert offers, much as Horrible Histories always has.

Now, just to get it out the way for anyone wondering, no; this does not have any of those classic original cast members from way back at the TV show’s inception. While that would also be a wonderful opportunity for an event and one many would love to see someday, that’s not what this is. The last thing I’d want is for any original fans to go in unaware and be disappointed. As many know, most of that particular group moved on to do the Ghosts show some time ago, to great success. However, this cast is truly delightful and have an exuberant approach to the work, it really comes across onstage.

The concert is not contained solely to the stage though. The audience are indeed addressed throughout and it’s especially interactive for kids. Singing, heckling, and even pantomime actions are encouraged. Chorus words appear for the songs (although frankly, nobody seemed to need them, other than perhaps the parents who have no idea what’s happening), the audience are asked to assist from their seats in question games and there is an open dialogue between the fans and whoever is onstage at the given time. The main sources for back-and-forth audience/cast interactions are Webb and Richard David-Caine’s Shakespeare, who gives a wonderfully camp performance. Being someone playing a character in a television show for kids doesn’t necessarily equate to someone who is actually good at entertaining them live so David-Caine should really be commended for terrific crowd work.

While it would be a shame to give away all the songs in store for ticket-holders, it should be noted to pay attention to the cast. Many of the famous monarchs show up in this concert, all thinking they’ll get to perform the final number of the show, thanks to a misunderstanding with Shakespeare. They all get their moments to shine, so if you were hoping to hear from Charles II, Elizabeth I, or perhaps Cleopatra, you’ll be very satisfied. My personal favourites though, had to be The Viking Song (more affectionately known as “Literally”) and without a shadow of a doubt, Boudica. Truly, the excitement was palpable. There’s a great blend of classics and more recent hits so there is definitely something for everyone.

It goes without saying but Horrible Histories has always been funny. It hasn’t lost that in this transfer to the stage or even all these years after it started. The cast have excellent comic timing and recognise that fun is the most important thing. They understand their job and they execute with maximum efficiency, giving each number, each one-liner, each facial expression 100% in terms of energy, effort and positivity. As a collective, they truly can’t be rated high enough. There are no weak links in this chain.

Now, there is some disappointing news; our host was not, in fact, a talking rat. Yes, sadly, the iconic host of the TV version Rattus Rattus, does not make an appearance. Heartbreaking to be sure and in all honestly, this did lose the concert a few points. Maybe there is an argument for a puppet being onstage the whole time and ruining the illusion of the character for children but damn it, it’s 2026! Surely there could have been a way! With all of that being said, Shakespeare still did a fine job in his role. There is a world in which they could have shared hosting duties, which absolutely could have led to some moments of comedy gold but alas, it was not meant to be. So, a note for the future would simply be this; give us the rat!

Overall, this concert was a huge success with the audience, myself included. It’s really lovely to see that in 2026, not only is Horrible Histories still going but it’s thriving. Many people probably watched those first episodes nearly 17 years ago who dreamed of days like this, where they could see these songs performed live. That day has come and let me tell you, it’s okay to still go if you were one of those kids. If you’re a 20 or 30 something who feels like they need permission to go and have fun, you’ve got it. Indulge yourself! Whether you’re 7 or 27, you’ll have a blast.

This concert’s final tour stop will be Sunderland Empire in Sunderland from Friday 17^th-Saturday 18^th April.

REVIEW: Anthracite Fields

Published on March 23, 2026March 23, 2026 by Steffan Eldridge1 Comment

An immersive, sweeping historical tribute with an enduring presence

Julia Wolfe’s Pulitzer Prize-winning oratorio came to Manchester this weekend and did not disappoint. Anthracite Fields is the tale of and a memorial to American miners, with inspiration drawn from oral histories and Wolfe’s own upbringing in Pennsylvania, rich in deposits of pure coal.

The night began with Gabriela Lena Frank’s Jalapeño Blues, conducted electrically by Ellie Slorach. The piece, rooted in Latin American culture, was rich, playful, and the singers shone with comedic and technically varied elements. While it is important that a piece such as Jalapeño Blues be performed, it felt an odd choice for a majority white-passing chorus. Is it enough for the composer to have mixed heritage? Or should the BBC’s singers be more representative of the piece? Regardless, the chorus brought great passion and energy.

The world premiere of SCALLOP by Laura Bowler followed, conducted by John Storgårds. This piece brought a significant but necessary shift, with foreboding strings and loud dynamics. It felt like a good precursor to Anthracite Fields, building a sense of danger. The soundtrack of water reminded us nicely of the evening’s subject’s environmental aspect, though its volume was distracting.

Julia Wolfe’s Anthracite Fields was also conducted by John Storgårds, who drew out an incredible sound from both the choir and orchestra, and conducted with quiet grace and reserve.

To portray this story through an orchestra felt like an excellent choice to me. The chorus served as our miners, a mass of bodies, their voices uniting to mix beautifully. The orchestra was our machine, with groups of instruments moving in unison. The violins’ physicality was particularly suited to this, as their bows jutted out almost mechanically.

The first movement, Foundation, built momentum tactfully. I felt dragged on the descent into the mines with sliding strings and brass. At times, it felt like the orchestra was running away from Storgårds, which would normally seem like a criticism, but it worked for the message; the syncopation and staggered melodies built a chaotic, crowded atmosphere.

Breaker Boys was the standout piece for me. This was the most upbeat, with a female soloist telling us “the poor little breaker boys’ fate” throughout, with the gritty intonation of a young boy. The use of a modern drum kit brought a rock feel and added a youthfulness. The use of a bike chain delighted me, linking a childlike sense of play with mechanical whirring. Though the movement emphasised the mines’ use of child labour, it served as a sensitive tribute to their lives and contrasted well with the piece’s darker themes.

Speech provided useful context, though the words felt a little shoehorned as lyrics. The soloist was excellent, with a beautiful tone and soaring high notes, and the choir standing alongside the soloist brought a sense of community.

Flowers was a beautiful movement emphasising the environmental impact of the coal mining industry. The lighting was an almost blinding bright pink, which contrasted well with the ever-dimming lights as we descended into the mines throughout the other movements. Hope permeated this piece, that flowers could bloom despite the horrors below.

Appliances finished the piece well, ending with the chorus whistling. It is a profoundly human activity, and likely a way miners would have entertained themselves, yet felt almost soulless with its sustained, unchanging notes. It reminded us of the miners’ humanity but left us with a sense of dread, a reminder of both their legacy and trauma.

A rousing work of art, Anthracite Fields is a tragic tale of hardship, entwined with hope and humanity, and was performed with poise and respect.

This piece was performed for one night only on Saturday 21 March at Bridgewater Hall, Manchester.

REVIEW: Hadestown

Published on March 22, 2026 by Antonia ConstantinLeave a comment

A finely balanced ensemble where chemistry, charisma and quiet emotional precision bring new depth to a timeless myth.

As spring settles over the capital, Hadestown returns to the Lyric Theatre with a revitalised cast that breathes fresh urgency into Anaïs Mitchell’s modern myth, reaffirming the show’s place as one of the most emotionally resonant musicals of the past decade.

First conceived as a concept album before evolving into a Tony Award-winning stage production, Mitchell’s Hadestown draws on the Greek myth of Orpheus and Eurydice, intertwining it with the fraught relationship between Hades and Persephone. Set to a rich score blending folk, jazz and blues, the musical is as much about storytelling as it is about atmosphere. This is a sung-through meditation on love, labour and the cost of hope in a mechanised world.

At its core, the production lives or dies on chemistry, not just between its lovers, but across its parallel relationships. In this new cast, that balance is not only achieved, but sharpened.

Clive Rowe’s Hermes anchors the show with warmth and mischief. Leaning into the trickster roots of the mythological messenger, Rowe brings a cheekiness that feels instinctive rather than performed. He is playful, knowing, and quietly omniscient, a narrator who sees everything yet is bound to simply guide events rather than alter them. There is a gentle paternal quality to his performance, but it never dulls the character’s edge; instead, it reinforces the bittersweet inevitability that defines the story.

As Orpheus, Marley Fenton proves an inspired piece of casting. His performance captures the character’s essential naivety. He is a young man whose belief in love feels almost embarrassingly sincere, yet never foolish. Fenton charts Orpheus’ transformation with subtle control, allowing the character’s descent into the underworld to register not as a sudden heroic shift, but as an organic evolution. In classical terms, this is a reluctant hero, one shaped not by strength but by devotion, and Fenton makes that journey entirely believable.

Opposite him, Bethany Antonia’s Eurydice is both guarded and deeply affecting. Their relationship feels lived-in from the outset, built on small, recognisable gestures as much as grand declarations. The chemistry between them is undeniable, grounding the more abstract elements of the production in something tangible and human.

Yet it is the central pairing of Hades and Persephone that ultimately dominates the production. Alistair Parker’s Hades is a formidable presence, his baritone voice cutting through the industrial hum of the underworld like a force of nature. There is something distinctly patriarchal in his authority, a pater familias figure presiding over a mechanised empire. Yet Parker allows glimpses of vulnerability to surface. Beneath the rigidity and control, there is a softer core shaped by love, however distorted it may have become.

Rachel Adedeji’s Persephone is a compelling counterbalance. Vocally assured and physically precise, she brings a restless energy to the role, a woman caught between worlds, yearning to restore warmth and connection. Her gestures are finely timed, her presence luminous, and her performance avoids caricature in favour of something more emotionally layered. Together, she and Parker form the show’s most compelling dynamic: a relationship fractured, but not beyond recognition.

The Fates — Melanie Bright, Spike Maxwell and Lauran Rae — inject the production with sharp wit and cohesion, their harmonies weaving tightly through the narrative. They operate as both commentators and instigators, their presence a constant reminder of inevitability. While their interpretation leans into stylisation, there remains an undercurrent of menace that prevents them from tipping fully into parody.

The ensemble and musicians, ever-present within the staging, function as the lifeblood of the production. Their integration into the world of the show reinforces its cyclical nature, a story told and retold, each time with renewed urgency.

What emerges is a production that understands its own mythology. This is not simply a retelling, but a ritual that depends on connection, on rhythm, and on the delicate interplay between its performers. This new cast honours that balance, bringing both clarity and emotional immediacy to Mitchell’s work.

As Hadestown enters another chapter of its West End run, it does so with a renewed sense of purpose, a reminder that some stories endure not because they change, but because each generation finds new ways to believe in them.

REVIEW: Beethoven, Pekka & Dreamers’ Circus

Published on March 20, 2026March 20, 2026 by dougalthomson94Leave a comment

Everything blends together into a transcendent night celebrating music

As the show begins and the three major components, Pekka Kuusisto, Dreamers’ Circus and the Scottish Chamber Orchestra, take their place, Kuusisto jokes about a rushed rehearsal time and remarks “Chances are it is going to work quite well”… A prediction that is certainly realised by the end of the work. From the start we are treated to a relaxed tone, with no pretension or hierarchy. This is simply a night of talented musicians celebrating music that they love.

As we are taken through several differing pieces of music, there is a clear sense of narrative. A story is unfolding that is all about celebration. Celebrating each and every player’s talent, the composition of the work and the folk music of countries including Denmark, Norway, Switzerland and more. The pieces transition incredibly well into each other and allow the audience to get lost in the symphony, only briefly brought back to Earth by comedic interchanges with Dreamers’ Circus.

As the overall show is so skillfully presented, it feels unkind to not applaud each component part of the evening. Dreamers’ Circus introduces us to the night, and are interspersed throughout the movements of Beethoven’s Seventh Symphony. Ale Carr, Nikolaj Busk and Rune Tonsgaard Sørensen are musicians operating at the top of their game. They each display a virtuosity and work incredibly with each other. What is striking is how free flowing they seem to be on the stage, while they work through some tightly composed pieces, they are clearly enjoying every second and experiencing the music with us.

The guest conductor of the piece is Pekka Kuusisto, who commands every second of every movement that the Orchestra plays. He skillfully dictates the tempo, volume and rhythm, and has the attention of every eye in the band, and of the audience. If he was not impressive enough, within the final pieces of the night, he conducts while playing his violin. He masterfully plays each note with passion, while still demanding the attention of each musician and controlling every note that is heard.

Finally, the night would never have been complete without the skills and work of the Scottish Chamber Orchestra. This is the definition of a well oiled machine. The synchronicity of this Orchestra is impressive from the moment they take their seat, until their final, well deserved standing ovation. It is regrettable that there is not enough space to individually mention each and every musician within the group and applaud them for their efforts, because it is the least they all deserve. They get lost in the music, and the instruments become extensions of their limbs. They match the showmanship and energy of Kuusisto and Dreamers’ Circus throughout the runtime.

If there is ever a chance to catch any part of this night live, it would be a sin to miss it. These are artists at the top of their game, producing inspiring work that should be heard by as many people as is humanly possible.

Beethoven, Pekka & Dreamers’ Circus was performed at The Queen’s Hall in Edinburgh on the 19th March before continuing to Glasgow (20th March) and Aberdeen (21st March).

REVIEW: Talk It Out

Published on March 20, 2026March 20, 2026 by Finn BaldwinLeave a comment

Enjoyable, But Hard Not to See What it Could’ve Been

Talk It Out is ostensibly about the first meeting of a self-help group. Ostensibly is the operative word here, because this framing device really has very little influence on the show itself. Talk It Out is a performance by the Edinburgh University Footlights, its members (about 15 people) take turns singing songs from various musicals, some solo and some as group numbers.

The performances themselves are largely strong. There’s some weaker and slightly unconfident singing towards the beginning but as everyone gets more comfortable they hit a more consistent quality. There are a number of truly excellent singers and dancers here, and even some very compelling comedic performers who, for me, provide the most entertainment. The show is at its best with the comedy numbers. The fun, playful songs like ‘All Girl Band’ and ‘I Love Betsy’ play well without their original contexts and can be entertaining in their own right. The more emotional numbers, like a particularly baffling use of ‘I Don’t Know How to Love Him’, tend to fall flat in comparison. Though they’re perfectly well performed, these songs require more emotional investment from the audience than this format allows. Without context for who these characters are and why we should care about them, the more serious songs that try to evoke some deeper emotion largely fail.

This is where putting more development into the conceit of the self-help group may have aided the show. For most of the first act people tend to simply step forward and perform their song with almost no set-up or conclusion. The second act is slightly more organised in this regard but it feels too little too late. There are some references to a continuity within the story of the show but with so many indistinct characters this can be very difficult to follow, especially since some supposed ‘story moments’ are abandoned once the song is over.

There’s clear effort put in to pick songs that audiences may not be as familiar with, or at least songs that they won’t necessarily have heard at other showchoir events. I was particularly impressed by the inclusion of two songs from the TV show Crazy Ex-Girlfriend, something of a cult classic that doesn’t get much recognition from the wider musical community. This choice would probably serve well to create any level of emotional investment in Talk It Out’s characters since the audience will be less distracted by the story of a musical that they’re unfamiliar with. Though this opportunity is never really pulled upon, it’s still fun and refreshing to hear some songs from lesser-known productions. All in all, despite some repeated issues with microphone levels, Talk It Out is a technically impressive if uninspired piece. There’s a lot of potential for something truly unique and special here, though a lot of it goes unrealised. At the end of the day it has the easy fallback of having some talented singers performing some great songs, which is an easy thing to enjoy.

REVIEW: Come Together

Published on March 19, 2026March 19, 2026 by ayoungishperspective1Leave a comment

A musical history tour following the evolution of Liverpool’s greatest band, The Beatles.

What a wonderful evening! The night started off with the comedic duo representing John Lennon and Paul McCartney taking the stage, silence befalling the audience as we all sat in anticipation. They introduced themselves as the very obvious Paul and John, with the hair and costuming to match (John clad in his infamous round glasses and long, slick-haired look). Behind them, a classic 6-piece band emerged. They began by talking us through the early lives of John Lennon and Paul McCartney – how they met and what the early years of the Beatles looked like.

The show was formatted very clearly, set in Chapters following a chronological order of 1 through 8, following the life of the Beatles. Before we knew it, the band had launched into their first song of the evening with Paul and John centre stage singing the very well-known Love Me Do! Behind the band, Beatles-related imagery was projected onto the stage- picturing Strawberry Fields, Abbey Road Studios, and even our very own Penny Lane flooded the scene, setting the tone of the evening. The atmosphere was building with the audience excitedly bopping their heads, shy at the start, but with each song and chapter, as the story progressed, so did the viewers’ enthusiasm. By the end, we even had the audience on their feet singing and clapping along to the Beatle’s greatest hits.

The band took us through the Beatles, launching into ultra stardom and the resulting Beatle Mania, singing tunes like the eponymous Come Together, Yesterday and Let it Be, broken up by bantersous quips from our resident Paul and John as they exemplify the breakdown of the pair’s relationship towards the end of the Beatles. The tone shifts from happier tunes to a more morose and serious atmosphere following the death of the Beatles’ late manager Brian Epstein, and we witness the band take on new musical directions inspired by the events occurring in their personal lives. Serenaded by song, we listen eagerly as the band strums on song after song, touching on albums such as Please Please Me, Rubber Soul.

What felt like years later, as we had followed the Beatles through time, it appeared the evening was drawing to a close and in classic fashion, the band took to the stage for one last song. We all came together, and the crowd stood for a fantastic encore of Hey Jude. I looked around at the masses grinning ear to ear and felt a deep connection to those around me, all sharing a love for one of the best bands to form. Liverpool’s pride and joy. We were all united in that moment. One.

This show runs from the 19th March to the 28th March at Liverpool’s Royal Court. Tickets here – https://liverpoolsroyalcourt.com/main_stage/come-together/

Written by Tahiyah Tabassum