Photo credit @lukebrennan.co.uk

There are shows that entertain — and then there are shows that suspend time.

Last night at the Music Hall at Assembly Rooms, Jacob Alon delivered the latter, closing out BRITs Week 26 for War Child with a performance that felt less like a gig and more like a collective exhale.

Part of the wider BRITs Week initiative surrounding The BRIT Awards 2026 — hosted this year in Manchester for the first time in its near 50-year history — the Edinburgh date carried a particular intimacy. And intimacy is where Alon thrives.

A Voice That Commands Quiet

Fresh off the momentum of their BRITs Critics’ Choice recognition, Alon stepped into the historic venue with quiet confidence. The room leaned in immediately.

Drawing heavily from their acclaimed debut In Limerence, the Scottish singer-songwriter wove deft guitar work with a vocal performance that was soft but piercing — the kind that doesn’t need to rise to be powerful. Tracks like “Confession” unfolded with aching vulnerability, while “Fairy In A Bottle” shimmered in the live setting, its emotional undercurrent amplified by the stillness of the crowd.

There was no spectacle for spectacle’s sake. No forced grandeur. Just songwriting, precision, and presence.

And that restraint is precisely what makes Alon one of the UK’s most compelling new voices. In a landscape often dominated by maximalism, they choose nuance — and the result is magnetic.

A Fitting Prelude: Lizzie Reid

Opening the evening was Glasgow’s own Lizzie Reid, whose folk-rooted warmth set the tone beautifully. Her songwriting — introspective, textured, and unhurried — created a natural bridge into Alon’s world. It felt less like a support slot and more like a curated conversation between two artists shaped by Scotland’s rich storytelling tradition.

Music With Purpose

What elevates BRITs Week beyond its enviable lineups is its mission. Delivered by DHL, the series offers rare, intimate performances while raising vital funds for War Child.

At a time when 1 in 5 children globally are affected by conflict, these shows aren’t just cultural moments — they are tangible acts of solidarity. Every ticket sold contributes to War Child’s work providing aid, education, and specialist mental health support to children living through unimaginable circumstances.

There’s something quietly powerful about hearing songs steeped in vulnerability while knowing the evening itself stands for something larger.

A Series That Expands — And Evolves

With dates spanning Newcastle, London, Edinburgh, Nottingham, Brighton, and Manchester, BRITs Week 26 marked an expansion beyond the capital, mirroring the broader geographic shift of The BRIT Awards this year. The series concluded on February 27th with two very different but equally headline-grabbing performances: Jacob Alon in Edinburgh and Robbie Williams at Manchester’s Aviva.

But in the hushed grandeur of the Assembly Rooms, it was Alon’s subtlety that lingered.

As the final notes faded and the applause swelled, it was clear: this wasn’t just a showcase for a Critics’ Choice winner. It was a reminder of what live music can be at its most distilled — intimate, intentional, and deeply human.

For a week built around celebrating the biggest night in British music, it felt fitting that it ended not with bombast, but with quiet brilliance.