Returning to the Palladium with its trademark mix of laughter, nostalgia and the timeless hits, That’ll Be The Day presents a phenomenal homage to the legendary writers and performers behind these world-famous hits. From the rock ‘n’ roll classics of the 1950s to the unforgettable anthems of the ‘80s, this feel-good production is a joyous journey through the songs that have
defined generations. Packed with over 60 nostalgic hits from the likes of The Beatles, Cliff Richard, ABBA, Tom Jones, The Rolling Stones, Tina Turner, Elvis Presley, The Eagles and Diana Ross, the show promises to leave audiences wowed. In addition to its music, That’ll Be The Day delves into the cultural spirit of the past with laugh-out-loud comedy sketches and iconic vintage adverts that transport audiences back in time.
Review by Stephen Gilchrist
A review of the 40th. Anniversary Show of Trevor Payne’s ‘That’ll Be The Day’ is almost redundant since, previously unbeknown to me, it has apparently become a national institution, possibly even a national treasure! It has a large returning fan base who, judging by the delighted audience response at the gala performance at the Palladium, were only too happy to be transported back in time to a show akin to 1970’s Saturday night television, comfortable, fun and definitely not edgy or dangerous. Bruce Welch of the Shadows was in the house and Bruce Marvin and Cliff Richard made video appearances.
The promotors claim that this is ‘the world’s leading Rock’n’roll show’. But it is definitely not a ‘tear It up’ show capturing the raw, rebellious spirit of rock ‘n’ roll. It’s much more sedate affair, but I’m not complaining, and the audience certainly get their money’s worth with three hours (plus interval) of pure entertainment. What it is, in fact, is a retrospect of familiar, soft rock pop from the 1950s through to the 80s interspersed with bits of rather un-woke variety and panto comedy routines which those of us, of a certain age, would almost certainly recognise.
What makes the show something of interest is that the virtual non-stop musical time travel by the talented company and band of about twenty, is performed by way of exceptionally creditable vocal and styled impersonations of the original iconic bands and vocalists, with, so far as I could tell a replication of the original arrangements, and the performers dressed appropriate to the era and to the original artists. And so we saw, among many others, Dusty Springfield, and exceptional Tina Turner and Diana Ross (by Nikki Hechavarria), Streisand, The Beatles, The Kinks, Elvis and Tom Jones (by Garry Anderson) and so on and so forth.
The eight featured performers include vocalists and some super guitarists, sometimes performing (as the Shadows) on the “Holy Grail” of guitars, ‘Burns’ guitars. There is first class percussion especially a driving Hawaii Five O theme led downstage by three sets of drums and drummers. There was excellent woodwind and brass backing and even a string section of three violins and a cello. The band was outstanding in every respect. In this particular performance Tom Ball, who rose to fame after competing in the 2022 series of Britain’s Got Talent and America’s Got Talent, guested to good effect
Trevor Payne, the founder of this feast of nostalgia, produces, directs and performs. He is now almost eighty years old and has produced this touring show in its various incarnations since 1986 with circa. 6000 performances. . He remains a capable, if not exceptional, singer, handles the comedy along with Anderson and certainly does not look his age. He has a rather endearing understated charm as he reminds those of us old enough to remember, of treasured moments eons ago, many of which certainly struck a chord with me, memories of the days of my youth flooding back to the era of bistroteques and clubs such as the Scotch of St. James the star studded nightclub off Jermyn Street where I spent many happy hours in the 60s and 70s.
In terms of production the large glamorous stage of the Palladium rather shows up the touring origins of this show with a bare two step set platforming the musicians, though the production is enhanced by some diverting visuals which include some well edited clips of telly, shows, and performers in days gone by and there is some effective lighting effects (Mike Stevens) in the usual rock gig style. The sound balance was by and large well handled. The staging could have done with more production, perhaps with backing dancers, again the show reflecting its touring origins
I visited to this show with apprehension but after a rather flat start I got pulled in and enjoyed the evening, perhaps more so than the Genz generation would do so, mainly because of the nostalgia element and my familiarity with the material. It was comfortable, like a well-worn pair of slippers, but none the worse for that. I’m sure it will continue with its loyal fan base for many decades to come. It was an enjoyable, if not thrilling, evening.
Photo credit: Jessie Hawkes
That’ll Be The Day
Tuesday 3rd February 2026
Tickets are available from https://thatllbetheday.com/spring-tour-2026/ and https://lwtheatres.co.uk/whats-on/thatll-be-the-day-tlp/
Tickets from £31 to £75
Running time 3 hours including an interval
Facebook That’llBeTheDayUk
Instagram @tbtdshow