SHANAY HOLMES LIVE IN CONCERT
Cadogan Hall
★★★½
“Truly a vocal performance to be proud of”
The award winning Shanay Holmes celebrates her illustrious West End career with her first ever solo concert. Showcasing stunning vocals ahead of her debut album release later this year, it’s a fitting moment to reflect – even if a touch more variety in setlist and staging would lift the night further.
Performing with the superbly balanced Royal Philharmonic Concert Orchestra, conducted by the exceptional Chris Poon, Holmes opens a vivid window into her creative inspirations and career to date. Spanning ‘The Sound of Music’, ‘Cabaret’, ‘Annie’, ‘Get Up, Stand Up!’, ‘MJ the Musical’, ‘The Bodyguard’ and more, Holmes moves seamlessly across styles without ever losing her signature flair.
Each song receives a unique interpretation, subtly shaded with pop, soul, gospel and jazz influences. Other songs are more playful, such as the big band rendition of ‘I Could Have Danced All Night’. And it wouldn’t be a Holmes concert without some gutsy showstoppers, such as ‘People’ and of course the iconic ‘As Long As He Needs Me’ from the 2024 revival of ‘Oliver!’ where Holmes originated Nancy. Though for me the night’s standout has to be the heartrending ‘Maybe’ from Miss Saigon – chills.
Holmes demonstrates impeccable vocal control throughout, building from an impressively quiet, shimmering head voice, to a rich, full throttle belt with ease and precision. Her vocal agility is equally formidable, dispatching outrageously complex runs with effortless skill. Truly a vocal performance to be proud of.
Despite Holmes’ undeniable vocal prowess, other elements could use refining. The setlist is almost exclusively ballads, and often a touch slower than popular versions, giving the evening a more reflective tone than you’d expect from a powerhouse belter – though this does have the advantage of showcasing Holmes’ full range. A little more movement would be welcome, as Holmes remains relatively static aside from a couple of freer numbers. A few lyrics go astray, which is forgivable but noticeable with such a well known programme. Holmes’ acting comes into its own in the second act, finishing on a high with a full throttle ‘Everything’s Coming Up Roses’ that all but demands she take on Mama Rose later in her career.
Design-wise, the pared back staging puts Holmes front and centre, framed cleanly by the orchestra. Varied lighting design creates the necessary drama, with bold colour transitions adding shape and momentum. The sound design captures her stunning range, though perhaps underpowers bigger moments at times. Holmes’ wardrobe is genuinely show stopping, from a dramatic red ensemble – complete with puff sleeves and a sweeping train – to a spangly white number that glitters under the lights.
Shanay Holmes’ first live concert delivers absolutely stunning vocals, even if other elements could use a touch more refinement. Her vocal skill is undeniable and I’m excited to see what she does next.
SHANAY HOLMES LIVE IN CONCERT
Cadogan Hall
Reviewed on 11th July 2026
by Hannah Bothelton
