Fresh from sell-out success in Australia, Thomas Currie blends powerful vocals, razor-sharp piano, electric cello and witty storytelling in this all-too-relatable late-night cabaret. Featuring original music and some reimagined classics, be immersed in a collection of gripping tales from around the world. This show is perfect for night owls, insomniacs and anyone who has ever tossed, turned or are now two days past their bedtime. ‘We laughed, we listened, we marvelled‘ (Melbourne Observer).
Would you mind giving us a brief insight into what your show/event/performance is?
It’s a mix of music and storytelling – funny and high energy—it’s me singing and playing piano, joined by an electric cellist. The show is a collection of individual stories, inspired by those unforgettable nights we’ve all had: sitting around with close friends, a favourite drink in hand, trading wild, hilarious, and sometimes eerie tales. There’s always someone with a disastrous date story, a conspiracy theory, or a firm belief that the house is haunted.
This was a regular thing when I lived in Australia—we’d stay up into the early hours just talking, laughing, and sharing. I’ve never been a great sleeper (my parents even sent me to “bad baby sleeping school” as a kid—didn’t work!). But I’ve always felt there’s a certain magic that belongs to the night.
The show is really a love letter to those nighttime hours—intimate, funny, a little quirky, and full of great music.
Tell us about the creative team and the process involved?
I originally created this show for the Melbourne Cabaret Festival in 2021, before I was meant to tour it around Australia, however, a certain global pandemic had other plans. With all the lockdowns, a lot of dates were cancelled, so bringing it to the Edinburgh Fringe now feels a bit like unfinished business.
The show features mostly original music, but there are also a few covers—songs by artists like Chris De Burgh and Harry Chapin. ones that I find really resonate with people. I’ve reimagined them in my own style, giving them a fresh twist while staying true to their emotional core. On perhaps a more selfishly note – creatively, I find a lot of enjoyment in interpreting someone else’s work and blending that into original material can be exciting for an audience.
I’ve always been drawn to music that’s driven by storytelling. For me, the text—the way a story unfolds through a song—is far more compelling than just a catchy beat. Of course, you want music that people tap their feet to, something memorable and fun. But that should never come at the expense of a good story. If there’s a strong narrative, something people can really connect to, that’s where the magic happens.
How does it feel coming to the Fringe?
This is actually my first Edinburgh Fringe. I’ve performed at similar festivals around the world, but there’s something iconic about Edinburgh. There’s nothing else quite like it—thousands of shows, artists from all over the world, and an audience that’s up for anything. I’ve heard so many stories about how wild, unpredictable, and exciting it can be, and I can’t wait to be part of that chaos in the best possible way.
What I love most is that anything goes. You could be in a tiny room above a pub or a huge theatre, and both can be equally unforgettable. It’s a place where audiences are willing to take risks.
With shows from all over the world at the Fringe, what sets yours apart?
There’s a moment in the show that I’m especially excited to premiere at the Fringe this year—it involves artificial intelligence. With so much conversation around AI and its role in the arts, I wanted to explore that in a playful, creative way.
So, I put AI to the test. In this segment, we build a story from the audience, which is then fed into ChatGPT to generate lyrics on the spot. I’ll compose and perform music for those lyrics live—without knowing in advance what I’ll be working with. It’s a spontaneous collaboration between human and machine, and the audience is right there in the middle of it.
It’s unpredictable, funny, and a bit chaotic—but that’s the fun of it. The result? Well, we’ll see what happens!!
Is there anything specific you’re hoping the audience will take away?
I just want people to have a brilliant night. The kind of night that leaves you smiling on the way home, maybe humming a tune, or thinking about something in a slightly different way.
There’s definitely a lot of serious, heavy work out there—this show isn’t that. It’s fun, it’s warm, and it’s made to be shared. That doesn’t mean it’s all surface—there are moments of real heart and depth—but it never takes itself too seriously.
More than anything, it’s about the audience. It’s not a show that’s trying to impress or preach; it’s about connection. Like a really good night with friends—stories, music, laughter, and a little bit of surprise thrown in. If people walk out feeling better than when they came in, I’ve done my job.
Your Ideal audience is in attendance, who’s watching? Or more importantly – who isn’t…?
The ideal audience is somewhere at the crossroads between stand-up fans, musical theatre lovers, and the late-night party crowd. It’s for people who love music, love a laugh, and are up for a good time. Honestly, the show pairs beautifully with a cocktail or two (let’s be honest – it’ll be best that way)!
I’ve always said this show is for anyone who has ever tossed, turned or are now two days past their bedtime. It’s one for the night owls.
As for who isn’t in the audience? Probably anyone who insists on being in bed by 9 and hates fun.
It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?
Originally, I’m from Melbourne, Australia, and the Fringe will mark a full year since I moved to London—so I’m really looking forward to catching as many Aussie acts as I can. It’ll be a little taste of home.
That said, I’m not really one to sit still. I thrive on energy, movement, and a bit of chaos, so I think Edinburgh Fringe might be my ideal environment—nonstop action, so many shows to see, so much happening all at once. For me, that is relaxing in a way. Immersing myself in it all, seeing what surprises pop up, and cheering on other artists doing their thing.
If I do find a quiet moment… I’ll probably spend it plotting what to see next.
In your ideal world, how can we improve the Fringe, performance, and the industry?
This is my first time at the Edinburgh Fringe, so I can’t speak from experience just yet—but looking at the arts more broadly, I think the most exciting work comes when different genres, cultures, and disciplines start to collide.
We already have such a huge range of disciplines within the arts—music, theatre, dance, cabaret, comedy—from all over the world. That diversity is incredible. But what really excites me is when those separate art forms start blending to create something entirely new. Theatre, at its best, has always been a combination of elements—text, sound, movement, design—and now we’re seeing technology become more and more a part of that mix, too.
In recent years, we’ve seen major developments in projection design, AI-generated content and even the use of drones in outdoor entertainment—all of these tools are creeping into the world of performance in fascinating ways. I think the arts are at their most vibrant when they borrow and learn from other industries. So rather than drawing boundaries around what counts as “theatre”, “music” or “live art,” I’d love to see us keep pushing those lines and asking: What else can we fold in? What haven’t we tried yet?
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