Beth Hart – Usher Hall, Edinburgh, 16 May 2026

As a typically rain-threatening Edinburgh evening unfolded, it set the tone for Beth Hart’s return to the Usher Hall. Opening act, Wille & The Bandits, reduced on this tour to Wille Edwards and multi‑instrumentalist Harry Mackaill drew the crowd in. Intimate and quietly confident, their acoustic set was sprightly, earthy, and immediately engaging. A timeless quality characterises Edwards’ vocal style, which occasionally recalls Mike Scott’s rugged clarity and Mark Chadwick’s melodic grit. With a stripped-back arrangement, his voice could shine, and the audience reacted with genuine warmth. Although brief, the set effectively prepared the room for the main event.



Beth Hart’s sultry, unhurried performance of ‘Tell ’Em To Hold On’ saw her step into the spotlight, sitting at the stage’s extreme edge as if she were serenading everyone in the room. Half confessional and half theatrical, that immediate closeness established the tone for the early part of the evening. A sexy swagger, carefully controlled to avoid excess, defined her Parisian-style rendition of Melody Gardot’s ‘If I Tell You I Love You.’ With the band already locked in, they provided tight, understated support, and guitarist Jon Nichols delivered the first of several inspired solos that would punctuate the night.

Bill Ransom’s crisp percussion propelled ‘Love Gangsta’ into deeper blues territory. The opening trio of songs evoked a feeling of being transported to a smoky back room far from Edinburgh, where the blues simmer rather than shout. Arriving loud and full of playful bravado, ‘Wanna Be Big Bad Johnny Cash’ gleefully shattered that illusion. Hart’s vocals, delivered with a knowing glint in her eye, were fully aware of the fun she was having as the band launched into a lively rendition of Cash’s signature “boom-chicka-boom” rhythm.

The evening then unfolded as a journey through various blues styles, which were by turns raucous, reflective, tender, and mischievous. Hart included a couple of early-set covers, with the first being a piano-led performance of Bobby “Blue” Bland’s ‘I’ll Take Care of You.’ Nichols’ guitar, which complemented the song without overpowering it, subtly enhanced Hart’s vocals. Leaning into the off-kilter charm of Tom Waits’ ‘Chocolate Jesus’ while preserving its emotional weight, they turned the tune into a waltz.

Supplying the bulk of the seventeen-song set, however, was Hart’s own catalogue. In a reflective mood, she chose songs for her set list, which she alters almost nightly, to explore vulnerability and fire. Matching Hart’s intensity as she growled her way through each line, the band delivered ‘Fire on the Floor’ and ‘Saviour with a Razor’ with raw energy. Anchoring the chaos with a steady pulse, Tom Lilly’s bass work was particularly strong here, while Nichols’ guitar cut through with slashes of electric punctuation.

Speaking openly about her hardships and then performing ‘St. Teresa’ as an intimate solo was one of the night’s most moving instances. ‘Leave the Light On’ followed. Sitting alone at the piano, Hart bared her soul with a level of honesty that left the hall silent. This served as a reminder that the artist, despite her swagger and powerful vocals, had genuinely experienced everything she performed.

With the full band back for a series of acoustic-leaning songs including ‘Baby Shot Me Down,’ ‘Fat Man,’ ‘Broken & Ugly,’ and ‘House of Sin,’ the mood brightened once more. With a sense of camaraderie and looseness, these songs closed out the main set, as the musicians clearly enjoyed the chance to strip things back and play with a different texture. As Hart and the band left the stage, the audience’s enthusiastic standing ovation was understandable.

They returned quickly. Earlier in the evening, Hart had revealed that a bug was going around the band and that she wasn’t feeling her best. That truth, however, only amplified the impressiveness of her performance. She opened the encore with a sublime rendition of ‘War in My Mind,’ her delivery imbued with a depth that showed she was tapping into emotional reserves instead of physical strength.

Following that was a minor rebellion. Although the venue’s curfew was approaching, Hart persuaded her husband and manager that there was still time for an additional song. A gift to the audience, the rarely played ‘There in Your Heart’ emerged as a tender and understated duet performed by Hart and Nichols. This offered a beautiful finale that fitted perfectly with the tone of the evening’s set.

The crowd delivered a thoroughly deserved second standing ovation, rising to their feet once more after the final encore. Throughout the evening, Hart was tender, fierce, loving, a bit naughty, and entirely captivating. Her stage presence vibrated with genuine electricity. One of the most expressive and emotionally fearless performers in today’s blues and soul scene, she continues to impress.

Hart provided a performance that seemed both refined and unplanned, supported by her exceptional touring band: Jon Nichols on guitar, Tom Lilly on bass and upright bass, and Bill Ransom on drums and percussion. Her live performances come highly recommended for anyone with even a slight interest in the blues. Having been a superb night out, rich in sentiment, mirth, and musical brilliance, the Usher Hall patrons left with the distinct impression that they had witnessed a truly special occasion.