If you’re craving a hearty dose of silliness, vocal prowess, and pirate-themed pandemonium, Pirates of the Aca-ribbean delivers a treasure chest of joy. Presented by Acadepitch, this a cappella supergroup of fewer than twenty performers sails through slapstick comedy, energetic choreography, and vocal acrobatics with infectious enthusiasm.
The plot—pirates versus army, with plenty of comic chaos—is pure Fringe fun. It’s not about narrative nuance; it’s about laughter, and the audience, spanning all ages, responded with delight. From groan-worthy puns to physical gags, the humour is broad and buoyant, anchored by strong soloists and tight ensemble harmonies.
What sets this show apart is its vocal versatility. The cast shifts effortlessly between group numbers and standout solos, blending musical theatre flair with pop-infused arrangements. Their choreography adds sparkle without overshadowing the vocals, and the cast’s chemistry radiates joy.
This is not highbrow satire—it’s a rollicking, family-friendly romp that knows exactly what it’s doing. If you missed it at the Fringe, keep an eye on Acadepitch’s Facebook page for future performances and updates. A must-see for anyone who wants to laugh, sing along, and maybe shout “Arrr!” with abandon.
Angus Munro doesn’t impersonate Sting—he honours him. In The Story of Sting and The Police, Munro and his outstanding band deliver a heartfelt, high-energy tribute that charts the evolution of one of rock’s most genre-defying acts. From the raw pulse of The Police’s early days to Sting’s solo sophistication, this show is a love letter to musical innovation and emotional storytelling.
The Police, formed in 1977 by Andy Summers, Stewart Copeland, and Gordon “Sting” Sumner, fused jazz, reggae, punk, and new wave into a sound that defined a generation. Munro captures that spirit without mimicry, bringing his own charisma and a four-octave range to classics like “Roxanne,” “De Do Do Do, De Da Da Da,” and “Message in a Bottle.” The audience response is electric—singing, clapping, and one ecstatic fan leaping to her feet, arms raised in joy.
The show’s emotional arc deepens with a 12-minute mega mix of Sting’s solo hits, including “Fields of Gold” and “Every Breath You Take,” showcasing Munro’s vocal agility and reverence for the material2. A slide projector adds visual texture, tracing Sting’s journey from band frontman to global icon, and anchoring the music in lived experience.
Presented by Night Owl Shows, this production is more than nostalgia—it’s a dynamic retelling of a musical legacy. Munro’s performance has earned accolades at both the Adelaide and Edinburgh Fringes, and the show continues its tour with a date at Hever Festival Theatre on 28 September 2025.
For fans of Sting, The Police, or simply great live music, this is an unmissable celebration.
Check Night Owl Shows’ tour dates for upcoming performances.
Jasmine Alice channels the spirit, sound, and spectacle of Celine Dion with uncanny precision in this heartfelt tribute that had audiences singing, swaying, and shedding the occasional tear. From the opening bars of “My Heart Will Go On” to the soaring finale of “L’Hymne à L’Amour,” Jasmine doesn’t just impersonate—she embodies.
The setlist is a greatest-hits parade: “Power of Love,” “Think Twice,” and other fan favourites land with emotional weight and vocal power. But it’s the staging that elevates the experience. A slide projector chronicles Dion’s life—moments of triumph and heartbreak—culminating in a stirring visual of her singing from the Eiffel Tower at the 2024 Paris Olympics, mirrored live by Jasmine’s own rendition. It’s a clever, moving touch that deepens the tribute beyond mere mimicry.
Audience reactions speak volumes: clapping, dancing, and visible emotion throughout. Jasmine’s vocal control and stage presence make her a convincing stand-in, but it’s her sincerity that wins hearts. This isn’t just a tribute—it’s a celebration of resilience, artistry, and the joy of shared memory.
For die-hard Dion devotees and casual fans alike, Celine Dion Experience is a must-see. It’s not just nostalgia—it’s reverence, delivered with grace and gusto.
You can explore Jasmine Alice’s upcoming shows via her official site, and dive deeper into Celine Dion’s discography on CelineDion.com.
Joni Mitchell: Take Me As I Am at the Edinburgh Fringe 2025 is a small marvel. Rainee Blake doesn’t just sing Joni—she is Joni. She performs in character, speaking to us as if we’ve been invited into her home after a tour. There’s a wry, playful sense of humour in the way she tells stories, teasing the audience, laughing at herself, and sharing secrets that feel half-confessed. It’s intimate, and it works.
I went in only knowing a few songs—Big Yellow Taxi and Both Sides Now. Both were delivered with warmth and beauty, reminding me why they became classics. But it was the lesser-known songs that surprised me. Coyote and Woodstock felt alive, urgent, and new. Blake’s voice, tuned to Joni’s strange chords, carried the ache of longing and the restless energy of the road.
What impressed me most was the honesty. No attempt at polish or distance—just raw storytelling woven through song. At times it felt like time travel, the room holding its breath as she played. It’s rare at the Fringe to find something this still, this sure of itself. Take Me As I Am is not a tribute—it’s a meeting with Joni Mitchell in her prime.
Angus Munro brings real energy and warmth to The Billy Joel Story at theSpace @ Symposium Hall. From the moment he sits at the piano, you know you’re in for something special. He doesn’t just sing the songs; he lives them, and the outstanding musicians around him give the music a full, rich life on stage.
The show is more than a tribute concert. It tells Joel’s story, weaving together music, slides, and anecdotes in a way that makes you feel close to the man behind the songs. We see glimpses of his early days in piano bars, the rise to fame, and the personal stories that inspired classics like “Piano Man,” “Just the Way You Are,” and “Uptown Girl.” These touches make the evening both entertaining and informative, giving the audience the sense of a journey as well as a performance.
The musicianship is outstanding. Every note feels sharp and alive. The drums drive the beat, the guitars add colour, and the piano riffs drop you right into Joel’s world. Angus Munro proves himself to be not just a singer but a gifted all-round performer. His piano and saxophone solos echo the originals yet have his own style. There is humour and warmth in his storytelling, and his voice has both the power and tenderness needed to carry songs that millions know by heart.
What makes the show so enjoyable is its atmosphere. The audience can’t help but sing along, tapping feet and smiling as hit after hit rolls out. It’s joyful, uplifting, and full of life. By the end you feel lighter, happier, carried along by the music and the story. It’s a reminder of how much Billy Joel’s work still means to people and why his songs have stood the test of time.
This is not a show to miss. If you want to feel happy, uplifted, joyful, then The Billy Joel Story will give you just that.
The Carole King and James Taylor Story is a joyous ride through music and friendship.
Hannah Richards sings Carole King with warmth and clarity. Will Sharp brings calm, soulful energy as James Taylor. Their voices blend but stay true to their characters. The song choices are inspired. King’s “I Feel the Earth Move,” “(You Make Me Feel Like) A Natural Woman,” and “You’ve Got a Friend” sit perfectly alongside Taylor’s “Fire and Rain” and “Sweet Baby James.” Each one is introduced with a story or an image, so you feel the life behind the lyric. The slide projector adds to this, showing moments from their journeys that make the songs hit even harder.
The audience can’t help but join in. There’s clapping, humming, singing. The atmosphere is easy and warm, more like a gathering than a concert. It isn’t just a set list—it’s a journey through memory and melody. You leave with a smile, a heart full of joy, and one of those timeless songs echoing in your head. This is a must-see at the Fringe.
RadioOctave’s A Cappella: Around the World at theSpace @ Surgeons’ Hall is a high-flying treat. A large group of young singers burst into song with energy you can’t ignore. Their smiles are wide, their harmony tight, and the stage feels electric. They move, they sway, they act—it’s more than a singing show, it’s a journey.
The songs span the globe. You land gently in touching ballads, then jet off into bold, modern anthems. The mix stretches across ages and styles. There’s something for everyone. And the choreography? It’s not flashy, but it keeps your eyes busy and your heart happy.
Fifty-five minutes slip by too fast. If you’ve got the time, this is the show that makes you feel lighter. You walk out humming and grinning.
Caledonia is a warm rush of Scottish air. theSpace @ Surgeons’ Hall suits it. The room feels close. The music fills it. Elsa Jean McTaggart is mesmerising. She sings with poise. She moves between violin and pipes with ease. It’s beautiful to hear and to watch. Gary Lister’s vocals blend well. His playing gives the songs weight and swing. You feel the ceilidh spirit in the room. Old tunes meet fresh arrangements. Stories stitch it all together. Footage of the islands deepens the mood. You can almost smell the peat smoke.
This is folk as living culture, not museum piece. The set is tight. The pace is kind. You leave lighter, and a little prouder of Scotland’s songbook. Forty-five minutes pass in a blink.
The Rise of the Eagles is one of those shows that sneaks up on you and leaves you richer for the experience. I went in knowing the music, of course, and the band’s reputation for partying hard, but not much more than that. At the end, I felt I had travelled with them, understood a little of their story, and seen why they remain such an enduring presence in rock.
Alex Beharrell and the Night Owl Band
The Night Owl Band bring enormous respect to the material. Their playing is tight, their harmonies strong, and there’s a real work ethic behind what they do. Nothing is casual here, and that professionalism shines through every note. They balance storytelling with performance so that the songs are not just strung together but woven into the arc of The Eagles’ rise.
Alex Beharrell takes on the central male vocals with confidence and range. His voice has that slightly raw edge which suits the material perfectly, but he can also find the softer notes when the song calls for it. He doesn’t try to copy Don Henley or Glenn Frey. Instead, he makes the songs his own, while still keeping them recognisable. He also proves himself an excellent guitarist, handling the intricate leads and rhythm parts with ease. His playing drives the songs forward, sometimes soaring, sometimes understated, but always spot on. At one point I leaned over to a friend and whispered, “that white guy can play guitar,” and I meant it.
A highlight for me was Sara Leane’s performance of Desperado. It was delivered with a clarity and emotional weight that gave the song fresh life. Her voice carried the sadness and yearning at the heart of it, and it was one of those moments where the whole audience seemed to pause and lean in. The band supported her beautifully, letting the song breathe.
Sara Leane sings Desperado
Another standout was the harmony performance Seven Bridges Road, with its Southern mysticism. It caught the room in a moment of stillness. The blend of voices was tight and resonant, and the emotional pull of the song came through clearly. It was one of those rare moments where the audience seemed to hold its breath.
The song itself has a history worth knowing. It was written by Steve Young in 1969, inspired by a real road in Montgomery, Alabama — a winding stretch with seven bridges and moss-draped trees that felt almost otherworldly. The Eagles recorded their version in 1980 for their Eagles Live album, turning it into a showcase for their signature five-part harmonies. They often used it to open their concerts, and you can see why. The lyrics — “There are stars in the southern sky / Southward as you go / There is moonlight and moss in the trees / Down the Seven Bridges Road” — evoke a kind of longing that’s hard to shake.
What struck me most was how much more I came to appreciate the craft and complexity behind The Eagles’ music. The arrangements, the interplay of voices and instruments, and the sense of striving for something beyond the ordinary. I also began to realise just how many different styles and genres The Eagles could master — from country rock and folk ballads to full-throttle guitar-driven anthems. They didn’t just dabble; they owned each sound with conviction.
This wasn’t just a trip down memory lane. It was an education in what made the band great and a reminder of why the music endures. The show has the polish of a tribute but the spirit of something deeper. It leaves you with a renewed respect for the songs, for the musicianship of those performing them, and for the legacy of The Eagles themselves. It’s a fine piece of work, and The Night Owl team deserve all the credit for making it feel both fresh and true.
Hebridean Fire is a show that carries you away to the Outer Hebrides. Elsa Jean McTaggart shines brightly on stage with a presence that is both warm and commanding. Her voice is strong and expressive, and she moves easily between guitar, mandolin, fiddle, melodeon and whistle. Each instrument seems like an extension of her. Gary Lister adds depth and rhythm on piano, accordion synth, bass and stomp. Together they create music that is rich, layered and full of life.
The audience are treated to reels, jigs, Gaelic songs and tunes that stretch back through the generations. There are also songs born of more recent times. The mix of past and present feels seamless. Stories about their cottage on the Isle of Lewis add to the atmosphere, grounding the music in real lives and places. Images projected on screen show the landscapes that shaped these sounds. It all combines to create a powerful sense of place.
The show is informal and intimate, but it is also polished. Elsa commands attention through her voice and gestures. It is difficult to take your eyes off her. She can lift the energy of the room with a fast reel, or hush it with a haunting Gaelic melody. Gary balances her perfectly, steady and playful, a partner in both music and life. The effect is joyful and deeply moving.
This is a reminder of roots, of choices and of the power of tradition carried forward. The duo offer a glimpse of a living culture, one that feels immediate and personal. At times it feels like being in a village hall on Lewis, at other times it feels ready for a Las Vegas stage. Elsa has the presence of a one-of-a-kind superstar, and this show makes that clear.
