Award‑winning performer Sarah‑Louise Young brings the international cult cabaret An Evening Without Kate Bush back to London for a limited West End run at Underbelly Boulevard. The critically acclaimed show, created with Russell Lucas, celebrates the music, legacy and devoted fan community surrounding one of Britain’s most influential artists.
Following sold‑out tours across Australia, New Zealand and the UK, the full two‑act version arrives in the West End for the very first time. The production features fresh material, fan‑favourite songs and a playful mix of theatricality, storytelling and audience connection.
An Evening Without Kate Bush runs from 14 to 26 April 2026 at Underbelly Boulevard. Tickets are available here.
You’re bringing An Evening Without Kate Bush to Underbelly Boulevard, what can you tell us about the show?
It’s a joyful, communal, uplifting celebration of Kate Bush’s music made with love and lunacy by a genuine fan. Unlike traditional tribute acts, this is no imitation. It’s Essence Of Kate: we channel her passion, humour, creativity and unique voice.
Expect fabulous songs, ridiculous costume changes, unexpected emotions and a little optional audience participation.
This production marks the first time the full two‑act version has been performed in the West End. What has it been like developing and expanding the show for this run?
We’ve actually been touring the UK with the full two‑act version of An Evening Without Kate Bush for a few years now, but this is the first time we’ve had the opportunity to bring it into the West End, so we are very excited.
When the show’s co‑creator Russell Lucas and I first conceived the production we always had an eye on a longer version, and there are so many great songs, we were spoilt for choice.
The two‑act version allows time for more interaction with the audience and sneaking in some bonus costumes and songs, including a lesser‑known cover version and a rather fancy headdress.
The show pays tribute to Kate Bush’s music and mythology, and the fan community is a huge part of its success. How does audience interaction shape each performance?
The audience really are the beating heart of this show. It’s made for them and with them.
Early on I invite people to tell me their favourite songs and share the stories behind them. Those choices then help shape the feel of the night.
So in that sense, no two shows are ever the same. I love hearing people’s experiences and finding out why a particular song has resonance for someone.
I don’t want to give too many spoilers, but for those who want to, there are also opportunities to take part more actively. These are very much opt‑in only. I never make anyone do anything they aren’t comfortable with.
Some people make it very clear they want to join in, but there is never any pressure to participate. If you want to come and sit in the dark just listening to the music you are just as welcome as those who find themselves singing backing vocals or waving a hand.
You’ve taken this show around the world, from sold‑out Australian tours to headlining at Glastonbury. How has the international response influenced the way you approach the material now?
Some songs resonate differently in Australia, like Hammer Horror, which was a bigger hit there than here after she performed it on their equivalent of Top Of The Pops, called Countdown.
But mainly, touring internationally just makes me feel even more grateful and happy to be sharing this incredible body of work. We are part of a global community, and it gives me great joy when someone comes up to me after the show in Melbourne to tell me their cousin in Manchester recommended the show.
You’ve had an extraordinary career across cabaret, theatre, comedy and improvisation. How does An Evening Without Kate Bush sit within your creative journey as a performer and theatre‑maker?
I’m always looking to explore new territory as a creative, and this show has really encouraged me to lean into a deeper connection with my audience.
From touring Julie Madly Deeply (an award‑winning cabaret about Julie Andrews which toured for ten years including sold‑out West End and Off‑Broadway runs), I learned how important it is to caretake the audience experience, especially when you are holding an artist and, in many cases, their childhood memories in your hands.
Where that show focussed on the icon that was Julie Andrews, An Evening Without Kate Bush really leans into the fans’ experience. Even after nearly 400 performances I am still learning and evolving with the piece. It’s a wonderful combination of my theatre, cabaret, music and improv experience.
Coming out of Covid, it felt especially important to remember the power of the communal experience and what a privilege it is to be together in the same space. I never take it for granted that someone has chosen to come and spend their evening with me.
I do a meet‑and‑greet after the show, and sometimes spend just as long chatting to people there as I do performing! I love this connection and it’s something I am delving into even more deeply in my new show, The Bob Ross Effect, which is currently in rehearsal. That’s about our creative spirit and the power of community to heal.
What would you say to anyone thinking of booking to see An Evening Without Kate Bush?
The thing I hear most often after the show from people is that it was nothing at all like what they expected, but that they loved it.
So don’t worry if you still aren’t entirely sure what to expect: take a leap and I promise I’ll look after you.
