Posts Tagged Hot Jazz Vagabonds

Airlie Scott Leads a Mischievous, Music‑Rich Mystery on the Jazz Express

August 27, 2026 at 3:09 pm · Filed under Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Jazz, Music, Uncategorized ·Tagged , , , , , , , , , , , , , , , , ,

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★★★★★ This show sweeps you up before you’ve even found your seat. All Aboard the Jazz Express is a high‑spirited, mischievous cabaret that transforms Theatre 1, fheSpace @ Surgeons’ Hall, into the dining car of Europe’s most glamorous train, rattling from Paris to Istanbul with a suitcase full of swing, secrets and delightful nonsense.

The Hot Jazz Vagabonds are the engine of the piece, and what an engine they are. Pete Watson’s accordion curls around the room like cigarette smoke; Alan Gibson’s double bass keeps everything steady with unflappable charm; David Ahmed and Andy Ruiz Palma trade guitar lines with the shimmering ease of musicians who know exactly how to make a room feel alive. Their sound — a blend of hot 1930s swing, smoky chanson and gypsy jazz — is rich, warm and utterly irresistible. It’s no surprise they’ve graced stages from Glastonbury to Ronnie Scott’s; they play with the confidence of a band that has seen every kind of audience and knows how to win them all.

Into this musical whirlwind steps Airlie Scott, elegant, playful and gloriously unpredictable. As Vivienne Valise, she welcomes us aboard with a conspiratorial smile and the revelation that she is, in fact, a spy en route to Istanbul. She suspects one of the musicians is a spy too — and from that moment on, the show becomes a deliciously tongue‑in‑cheek mystery, full of coded glances, sudden revelations and the kind of theatrical chaos that makes audiences beam.

At each stop along the legendary route, the tone shifts just enough to keep things lively. In Belgrade, she slips a message to a spy hidden in the audience. In Vienna, documents are exchanged with suspicious flourish. In Sofia, she bursts into “Joseph Joseph” with infectious energy. And in Milan, her rendition of Tu Vuo’ Fa’ l’Americano is a cheeky delight, capturing the post‑war swagger of Italians playing at being American. She moves with ease from English to French to Italian, each song delivered with a storyteller’s instinct and a cabaret singer’s flair.

One of the loveliest moments sees her seated at a small table, singing in French with a softness that hushes the room. Another has her clicking her fingers to the gypsy jazz beat, weaving through the space with a dancer’s lightness. She is a performer who understands atmosphere — how to build it, how to break it, and how to let the band breathe inside it.

The murder mystery element is handled with a wink rather than a weight. A sudden “shot” rings out; Airlie ducks; the audience follows suit, half‑laughing, half‑startled. Two agents appear on the platform. Papers are shuffled. Suspicions rise. And by the time the train reaches Istanbul, the final twist — involving Alan’s double‑bass‑playing fugitive — lands with just the right mix of absurdity and theatrical satisfaction.

Musically, the show is a joy. The Vagabonds play with precision and personality, never missing a beat, never losing the thread of the story woven around them. The journey from Paris to Istanbul becomes not just a route but a rhythm — each city a new flavour, each song a new clue, each moment another reason to smile.

Theatre‑wise, it’s brisk, charming and beautifully pitched. The audience is drawn in without ever being pushed; the humour is light but clever; the atmosphere is rich without being heavy. It’s the kind of Fringe show that leaves you feeling brighter than when you walked in — a little dazzled, a little amused, and very much entertained.

Reviewed by Jacqueline Sharp

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Paris in a Jazz Age Captures the Smoke, Swing and Soul of 1920s Paris

August 13, 2026 at 10:16 am · Filed under Edinburgh Fringe 2026, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Jazz, Music, Spoken Word, Theatre ·Tagged , , , , , , , , , ,

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 Some Fringe shows try to recreate an era with props and posture. Paris in a Jazz Age does it with mood. From the moment Airlie Scott steps into the light as Eloise DeFleur, you feel the room tilt gently toward 1920s Paris and on — that heady mix of smoke, swing, and possibility. It’s not a history lecture. It’s a feeling. And the show gets that feeling right.

Airlie has an easy command of the space. She doesn’t force the character; she lets Eloise arrive naturally, as if she’s been living in the wings for decades and has finally decided to wander out and talk. There’s a warmth to her storytelling, a softness in the way she lets memories unfold. Nothing rushed. Nothing over‑played. Just a woman looking back at the city that shaped her.

The music is where the show really breathes. The Hot Jazz Vagabonds are the real thing — proper hot‑club swing, the kind of nimble, conversational playing that makes you sit up a little straighter. Alan Gibson’s bass keeps everything steady; David Ahmed and Andy Ruiz Palma’s guitars dance around each other with that unmistakable Django shimmer; Pete Watson’s accordion folds the whole sound in Parisian colour. It’s a band that knows exactly what it’s doing.

One of the highlights for me was “Blue Skies”, a Josephine Baker song from 1937. It’s one of my favourite vocal jazz numbers anyway, but Airlie gives it a lovely lift — bright, hopeful, almost conspiratorial. You can hear the optimism of early‑20s Paris in the way she phrases it, that sense of a city opening its arms to anyone bold enough to step inside.

The show also touches on songs that speak directly to the city itself — pieces like “I Love Paris”, which fits the tone perfectly. It’s one of those numbers that carries the whole sweep of the place in a few bars: the romance, the melancholy, the sense that the city is always slightly larger than your own life. Hearing it in this context feels right. It’s not just a standard; it’s a love letter folded into the set.

The rest of the repertoire moves through the music that defined the era: gypsy jazz standards, early swing, touches of French chanson, and those American Songbook classics that drifted across the Atlantic and settled into the clubs. Airlie has spoken about building the show around songs she loves from those traditions, and you can feel that affection. Nothing feels like filler. Every number earns its place.

What gives the show its shape is the memoir framing — Eloise arriving in Paris in 1920, finding her voice, losing people she loved, watching the city change under Occupation, and carrying on because that’s what Paris demanded. It’s lightly handled, never heavy, but it gives the music emotional weight. A song isn’t just a song; it’s a chapter.

There’s a moment, late in the show, where Airlie shifts from glamour to something quieter. It’s subtle, but it lands. You realise you’ve been listening not just to a performer but to a woman who has lived through joy and uncertainty and still finds reasons to sing. That’s the heart of the piece.

By the end, you feel you’ve spent an hour in Paris — not the postcard version, but the one built from late‑night cafés, warm laughter, and songs that stay with you. It’s a lovely thing to walk out of Surgeons’ Hall with.

Reviewed by Pat Harrington

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Read our interview with Airlie  Scott here

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Jazz Age Paris Reimagined: Airlie Scott on Building Eloise’s World

August 7, 2026 at 10:49 am · Filed under Biographical, Edinburgh Fringe Festival, Edinburgh Fringe Festival 2026, Jazz, Music ·Tagged , , , , , , , , , , , , , , ,

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Paris between the wars has been romanticised so often that it’s easy to forget it was also a city living through uncertainty, occupation, loss and extraordinary change. Paris in the Jazz Age embraces both sides of that story, weaving together music, theatre and memory to revisit an era that still casts a long shadow over popular culture.

Rather than offering a history lesson, the show invites audiences into an intimate Parisian café, where the fictional singer Eloise DeFleur looks back on the people, places and songs that shaped her life. Along the way come gypsy jazz, chanson, early swing and American standards, performed by the acclaimed Hot Jazz Vagabonds, with Airlie Scott at the heart of a production that balances exuberance with quieter moments of reflection.

Ahead of this year’s Edinburgh Fringe, we spoke about creating Eloise, bringing Jazz Age Paris to the stage, blending concert and cabaret, and why music remains such a powerful companion in difficult times with Airlie Scott. the performer at the centre of Paris in a Jazz Age.

Eloise DeFleur’s memoirs guide the entire show. When you first developed this piece, what made this format feel like the right way to explore Jazz Age Paris?

This format evolved naturally during the development process. As I researched the clubs, musicians and singers of the era, including travelling to Paris myself. One of the surprises was discovering how little remains in Montmartre of the vibrant jazz scene that once flourished there.

As I immersed myself in the stories, anecdotes and lives of those who experienced the period firsthand, it felt natural to bring that world to life through the memories of a fictional character. Eloise became our guide: a young English singer living in Paris between the 1920s and 1940s. Through her eyes, we can revisit the clubs, the music and the atmosphere of the time, creating a theatrical framework that allows us to celebrate these wonderful songs while inviting audiences into Eloise’s memories in a Parisian café.

The production moves from the exuberance of the 1920s through Occupation and Liberation. How did you approach capturing such a wide emotional and historical arc within a single, intimate performance?

Naturally, a 55-minute piece can only touch lightly on such an enormously rich and complex period of history. Rather than attempting to tell the whole story, we aim to capture its flavour through the changing sounds, rhythms and emotional textures of the music, set against the wider historical backdrop.

By following the journey of one character through these years, we give audiences both a personal perspective and an emotional anchor. Eloise’s experiences, relationships and losses provide a human context to the events unfolding around her. As an outsider finding her place in Paris, she also offers a colourful and accessible way into this fascinating world and its music.

You’ve been praised for bringing wit, warmth and “champagne sparkle” to Eloise. What qualities does she draw on to make the character feel lived-in rather than nostalgic?

We were incredibly touched by that review. One of the joys of the piece is that Eloise speaks directly to the audience, creating an immediate and personal connection.

I try to remain grounded and present in every performance, responding truthfully to each moment. Having written the character myself also creates a unique connection to Eloise’s emotional and poetic journey, which hopefully allows the character to feel authentic rather than simply nostalgic.

The band blends chanson, gypsy jazz, early swing, blues and American Songbook classics. How do you decide which musical colours belong to which moment in Eloise’s life?

The choices were often guided by historical context but also by songs we already loved, the emotional tone of a particular scene, and the rhythms or tempos required to support each theatrical moment. For example hot jazz, swinging French chanson or an emotional ballad. In most cases, it was a combination of all those factors. We wanted the music to feel both authentic to the era, true to us as a band and dramatically meaningful within Eloise’s journey.

The show sits between cabaret theatre and an authentic jazz gig. What freedoms does that hybrid format give you that a traditional musical wouldn’t?

I love this hybrid format. While it doesn’t have the scale of a full musical, it allows audiences to feel as though they’re sharing an authentic jazz performance while also being drawn into a compelling narrative.

The audience experiences both a concert and a theatrical journey. Most of the characters are evoked through Eloise’s storytelling but at key moments figures from her life emerge more vividly, and members of the band occasionally step into the dramatic world themselves. This interplay between music and theatre creates a unique intimacy and spontaneity that we find incredibly exciting.

Paris in the Années Folles is often romanticised. How do you keep the show grounded in emotional truth while still embracing the glamour audiences expect?

The key is that everything is filtered through Eloise’s personal memories and experiences. She looks back on this period with affection and nostalgia, so some romanticism feels entirely appropriate.

At the same time, her story includes challenges, triumphs and moments of loss. By grounding the glamour in a lived emotional experience, we hope audiences can enjoy the sparkle of the era while still connecting with the humanity beneath it.

The musicians, Pete Watson, David Ahmed, Andy Ruiz Palma and Alan Gibson, have serious jazz credentials. What does their experience bring to the storytelling that actors alone couldn’t achieve?

The show rests on the extraordinary talent, versatility and musicality of The Hot Jazz Vagabonds. Their deep knowledge and passion for this repertoire bring an authenticity that simply couldn’t be replicated otherwise.

Jazz is a living, breathing art form, and these musicians bring spontaneity, atmosphere and emotional depth to every performance. They don’t just accompany the story; they help tell it. I’m constantly in awe of their artistry, and we hope audiences will be too.

The press release mentions resilience as a core theme. How do you express that musically, especially in the sections set during Occupation?

The second half of the show briefly explores some of the realities of life in occupied Paris, including loss, uncertainty and separation. These moments naturally place greater focus on Eloise’s resilience and determination.

Musically, we wanted to reflect not only the hardships of the period but also the enduring power of music itself. The songs remind us how music can provide comfort, connection, escape and hope, even during the most challenging times.

You’re also presenting All Aboard the Jazz Express! at Venue 53. How do the two shows speak to each other, and what makes Paris in the Jazz Age distinct in tone and intention?

The two productions are very much sister shows. All Aboard the Jazz Express! has a lighter, more playful and comedic tone, with a touch of intrigue and a colourful cast of characters, each played by members of the band.

Set aboard a train reminiscent of the Orient Express travelling from Paris to Istanbul, it offers a lively contrast to the more reflective and romantic atmosphere of Paris in the Jazz Age. While both celebrate swinging music and storytelling, anchored in gypsy jazz, they do so in very different ways. We hope audiences will enjoy discovering both sides of our work and comparing the two journeys for themselves.

With a 55-minute runtime, the show is tightly crafted. What do you hope audiences carry with them as they step back out of Surgeons’ Hall? What’s the lingering note you want to leave in the air?

That’s a difficult question because every audience member takes away something slightly different. If I had to choose, I would hope people leave with a deeper appreciation for the brilliance of the music of the era and the resilience and strength of the people who lived through such extraordinary times.

Perhaps most importantly, the show is fun and I hope they leave feeling uplifted. We live in challenging times ourselves, and music still has the same power it always has: to transport us, comfort us, connect us and bring joy in a moment. If audiences leave smiling, humming a tune and feeling lighter than when they arrived, then we’ve done our job.

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