(seen at the performance on 1st October 2026)
Some performers have a simple knack of making their concert feel more like friends being invited for tea and a singsong. Michael Ball is one of these.
An 8-piece band, 2 backing singers, vast Palladium stage and expansive lighting design are simply an extension of his sitting room as he offers us “The Best Night Of Your Life” – his opening number with a 1960s vibe.
Only musical theatre performers really know how to find and tell the story in a lyric. “Simple Complicated Man” is personal exploration, contrasting well with discussing life in philosophical 70s feeling “Some Guys Have All The Luck” and the big win of great number “Little Wins.”
Turning deeply personal, “Remember to Remember” is a tribute to the mother he lost last year, her smile the most important thing to cling on to.
Going upbeat, title song from his new album “Glow” allows his backing vocalists to shine as bright as the golden stage lights flooding the theatre.
“You” sings as he thinks, “The Rose” shows how only the best performers find something entirely new and meaningful in a very familiar Amanda McBroom number.
“Million Lights” is sincere, before lights shine to welcome supporting act Liss Jones back on stage for two numbers.
With husband Zach Lloyd on piano, they save paying for an extra hotel room, quips Ball. He also notes Loyd is “punching above,” maliciously pointing out that Ms Jones is far better looking than Alfie Boe.
In midnight blue, Jones smashes Ball’s “You Don’t Bring Me Flowers” style tribute, the self-penned “How Do We Get Back There.”
Following that with Celine Dion’s “The Prayer,” Dion will be looking over her shoulder at them both.
A glimpse of summer 2027, when Michael Ball’s Willy will be showing for three months at the London Coliseum (and the Palladium panto, with jokes like that). “Pure Imagination” from “Charlie and the Chocolate Factory” suggests a Fudge Mallow delight of a show to come.
“He Lives In You” bridges the gap to the medley everybody anticipates eagerly at every Ball show.
Seated upstage, the lights turn red, white and blue for “Empty Chairs at Empty Tables.” As fine, if not finer, than when the monkey saw him in the original cast of “Les Misérables” as the Palace Theatre, so many years ago.
“Stars” is given a cabaret rendition, without the aggressive definition Javert is required to produce.
The approach works even better in “Anthem” from “Chess,” anger and confusion turning contemplative. A stale and often overdone showtune made great in the hands of this experienced professional (whose advice youngsters in the cast ignore of course, he notes ruefully).
“Vintage” has the audience happily engaging in a “call and response,” and brings the energy up for the trio of closing numbers.
“Let’s Just Dance” and “One Step Out of Time” – his Eurovision banger – are sheer fun, and everybody knows the actions to “You Can’t Stop The Beat” from “Hairspray.”
Naturally, the beat doesn’t stop there. “Love Changes Everything” is a required encore, if he wants to leave the building alive.
Taking a stool for “On With The Show” he feels and understands the truth of every word, so do we.
“The Wonder of You” is a perfect close, summing up himself, his relationship with his fans and our shared night.
Worth mentioning is more detail is his support act Liss Jones. A finalist on “The Voice”, she is a far better singer / songwriter than covers singer.
Her warm-up (while Michael is still blow-drying his hair, she confides), showcases two excellent numbers, “Her” and “Runnin’ On Whiskey.” One, a jealousy of another woman chosen, the other influenced by Nashville where she and husband Zach wrote it.
Decent renditions of “If I Could Turn Back Time” and “Fix You” among others also played well from a talent in a zinging “Jessica Rabbit” red sparkling dress.
Sums up the quality of the entire show, really. Well-chosen creative supporting artiste combined with a musical theatre legend create an evening which does indeed glow.
5 stars