One woman, and a full-blown theatrical playground! 'An Evening Without Kate Bush' transcends the typical tribute format. It's less about perfect mimicry and more about a vibrant, communal celebration. Sarah-Louise Young acts as a conduit for shared fandom. This is a clear act of tongue-in-cheek devotion, written with laughter, personal anecdotes, and a deep appreciation for the emotional resonance of Bush's extraordinary talent and music.
Young embodies Bush's spirit, masterfully capturing the dramatic range and theatrical phrasing that make her singing instantly recognisable. She deftly navigates her intricate melodies and in doing so, forges a loving, mischievous musical dialogue that elevates the show beyond simple replication. It's a wild ride through a beloved artist's world.
If you come expecting a straightforward cover experience you’ll be completely off the mark. This isn't a jukebox tribute; it's a participatory experience where the audience's own passion is celebrated, creating a shared, transformative journey. It's less about simulating, and more about revelling in the unique, unifying power of Kate Bush's phenomenal artistry. Part fringe, part clowning, part surreal spectacle, it defies expectation. That's cabaret, where surprise is the only constant.
Sarah-Louise Young transforms wigs into comedic devices, mops into duet partners, and Kate Bush's interpretive dance into vivacious exaggeration. It is an affectionate, slightly bonkers homage to her legendary aesthetic with a flourish of red unitard. She intersperses these visual moments with wry observations on traditional tribute acts and personal anecdotes from her own journey as a devotee. Each song is sung with skilful precision and genuine respect.
Much to the audience's relief, no fan favourites were left behind. ‘Babooshka,' with its surprisingly accurate Russian pronunciation, was an idiosyncratic delight. ‘Running Up That Hill' captured a chaotic yet exuberant, 'Stranger Things' 80s vibe, complete with a synth-fuelled emotional battle. Who knew 'Don't Give Up,' sans Peter Gabriel, could be so lovely and complete? Young, apparently and with brilliant effect.
Young’s rendition of 'The Man with the Child in His Eyes' offered a poignant and welcome contrast to the comedy. Free from artifice or interruption, the simplicity and emotional depth allowed the song's vulnerable romanticism to strike a profound chord. The hushed audience clearly appreciated the emotional truth conveyed, a testament to both Bush's talent and Young's interpretation. While successfully channelling Bush's spark and energy, a raw and unadulterated 'Wuthering Heights' with Young unleashing her fabulous vocals at full throttle, would have provided a truly potent conclusion.
This show's strength and appeal lay in its ability to blend different styles, moods, and interpretive layers—at times wildly swinging between all three. The inherent intimacy and audience connection would have found its ideal setting in a Spiegeltent, rather than the Riverside Theatre auditorium's more formal vastness; however, Young's sheer conviction and charisma managed to bridge the gap.
To fully grasp the artist's intent, leave your standard expectations at the door. This show is anything but ordinary. An ‘Evening Without Kate Bush’ is the very essence of pure, bat-shit Bush brilliance. My advice is: settle down with a glass of wine or two and just surrender. If you weren't a ‘Wutherer’ before - you'll be swaying on the moors in no time. I have no doubt Kate Bush herself would adore this wild, 'Hounds of Love' fever dream - complete with an 'Arooo!!!!'
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Reviewed by F Jessel