Review: Just For One Day - The Live Aid Musical (Shaftesbury Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

When it comes to notable concerts in history, they don’t get much more iconic than 1985’s Live Aid. Whether you are old enough to remember where you were that day, were lucky enough to be at the concert yourself, or hadn’t even been born yet (a good excuse not to get tickets, I find), you would have likely heard of the event that has been spoken about in the decades since, if only for that defining performance from Queen. As it gears up to mark the 40th anniversary, new musical Just For One Day - The Live Aid Musical transfers to the West End, following its acclaimed debut at the Old Vic last year. I was blown away when I first saw it and had heard it had changed slightly since then, so I was excited to see it in its new, bigger home, but would this musical rock me as much the second time around or was this one show that would work just for one day?

Just For One Day tells the story of how music united the world on 13th July 1985 as more than 70 artists came together to play huge concerts simultaneously in London and Philadelphia. Organised by Bob Geldof and Midge Ure, the purpose of these concerts was to raise funds for relief of famine in Ethiopia, following the previous year’s charity single ‘Do They Know It’s Christmas?’ (and if that song is now stuck on your head on a summer’s day, I make no apologies). This musical looks at what inspired this concert to exist, and explores the legacy it has left in future generations in a story that transcends decades.

The narrative choice in Just For One Day is part of what makes it so special. It would have been very easy to tell the story solely through the eyes of the performers and organisers on that day, though of course Bob Geldof is a huge part of the story. Instead, the choice has been made to see it through the eyes of other individuals. There’s Marsha and Jim (Kelly Agbowu and Ashley Samuels), who both worked behind the scenes at the concert, record shop (ask your parents) worker, Suzanne (Melissa Jacques), a music fan who had to be at this concert, and her daughter, Jemma (Fayth Ifil), who was merely a twinkle in her mother’s eye when the concert takes place, and learns about its existence and repercussions as the story plays out. There is also the much-needed perspective from Red Cross worker Amara (Rhiane-Louise McCaulsky) and… Margaret Thatcher (Julie Atherton), who may be necessary but perhaps isn’t welcome. These varying strands offer a rich tapestry that looks at the story from many differing angles, coming together to create something truly compelling.

Written by John O’Farrell, Just For One Day embodies the spirit of Live Aid itself in using these multiple story strands, reflecting on the very real events that forced the concert into existence, and what still needs to be done to this day, through a mix of real experiences and imagined characters. Some elements might not feel as fitting in 2025 as they did in 1985, such as the lyrics of ‘Do They Know It’s Christmas?’, which have been the subject of some question over the years. Rather than gloss over this, Geldof gets these lyrics questioned in a playful but welcome response to that show’s performance (Yes, it doesn’t matter what month you see this musical in, you will be hearing a Christmas song. That doesn't mean Michael Buble will be defrosting early this year though). It is very easy to talk about the “white saviour” complex in that song and this concert, so it is refreshing to have characters like Jemma and Amara call this out in a show that doesn’t try to be perfect, but tries to do some good in the world.

O’Farrell navigates these complex themes with writing that is often humorous and tongue-in-cheek, while never coming close to undermining the seriousness of the situation, both at the time and the work the Band Aid Charitable Trust continues to do now. Whether it be a Hamilton-esque rap battle between Margaret Thatcher and Bob Geldof (there’s a sentence I never thought I’d write) or Geldof’s free and frequent use of his favourite F word, Just For One Day attempts to entertain and educate simultaneously, with every laugh carrying with it the serious message. The writing addresses this balance perfectly in a show that takes the principles of the 1985 concert and transports it 40 years later, updating elements where necessary. This is not the Live Aid musical I would have perhaps expected, but it is better than I could have imagined.

Though musicals may not be Bob Geldof’s favourite thing in the world (look out for one brilliant representation of this in the show), Just For One Day fills the story with nearly 40 classic songs, all played at the concerts on that day in 1985. Classics such as David Bowie’s ‘Heroes’, The Beatles ‘All You Need Is Love’, and The Who’s ‘My Generation’ are among the timeless numbers you’ll find here. It is how they are included that impresses. I won’t lie and say there aren’t some moments where the songs feel shoehorned in, an issue that is common in many a jukebox musical, with some extremely tenuous links leading to a musical performance. However, others are used with such creativity, you find yourself wondering what song each situation is going to lead to. Another clever touch in the writing is having these songs performed by characters rather than impersonating the original artists (with the exceptions of Geldof and Ure) - this choice adds something to the mix and sets it apart from some of its counterparts.

How these musical numbers are presented is also an inspired touch, with Matthew Brind's arrangements and orchestrations keeping true to the originals while not being afraid to tweak them slightly. This is demonstrated best through several mash-ups and medleys, usually with numbers you wouldn’t expect to work together, but definitely do. If you thought ‘Do They Know It’s Christmas’ and ‘Last Christmas’ wouldn’t work in a medley with ‘Radio Ga Ga’, you are going to be very surprised with how well this works, as does a mix of ‘Rebel Rebel’, ‘Don’t You (Forget About Me)’ and ‘Into The Groove’ from three very different artists. These musical numbers are always performed impeccably from the ensemble cast, with Ebony Molina’s choreography making each number feel as big as if it were being performed at Wembley Stadium itself.

Luke Sheppard is no stranger to directing beasts of jukebox musicals such as this one, with his work on &Juliet a testament to his talent and skill. Like that musical, Just For One Day sounds like it wouldn’t necessarily work on paper with its bold and different approach to storytelling. However, Sheppard brings it all together with ease, navigating the big and brash choices in this larger-than-life musical and finding some coherence amongst the chaos, fittingly matching the story we watch about Live Aid being organised in record time. Sheppard’s direction brings O’Farrell’s writing to life in a vision that pays tribute to that 1985 concert and the reason it existed, while never forgetting this is a musical and ensuring every audience member leaves the Shaftesbury Theatre completely fulfilled from what they have just seen.

The production value in Just For One Day is another aspect of what makes this such an enjoyable watch, with Soutra Gilmour’s set design beautifully setting the scene and taking us through the decades at locations such as Wembley Stadium and 10 Downing Street. Howard Hudson’s striking lighting deliberately recreates a huge concert, almost blinding with its brightness, while this aspect is furthered in Gareth Owen’s incredibly loud yet satisfying and always crystal clear sound design. One of the more impressive aspects is the use of video with designs by Andrzej Goulding, including a gorgeous proscenium surrounding the stage, always transforming itself with projections, and an inspired use of archive images mixed with live filming, brilliantly transporting us back to 1985 in style.

A big show needs a big cast, and Just For One Day is positively bursting with them. Each taking on a role in the show while doubling as the ensemble, it leads to one of the best ensemble casts you will see in the West End. Craige Els is a force to be reckoned with as Bob Geldof, brilliantly displaying him at his anarchic best while remaining completely charismatic. Having worked closely with Geldof and having the real man come on stage at the curtain call to talk about Els’ performance (amongst many other things), the result is a stunning lead performance that steers all the chaos and busyness of the story to great effect. His no-nonsense approach leads to some of the funniest moments in the show and though he doesn’t get a chance to sing much, when he takes centre stage for a rousing ‘I Don’t Like Mondays’, the result is sublime.

Another standout is the appropriately named George Ure as Midge Ure (no relation), demonstrating his incredible vocals on two Ultravox numbers, ‘Dancing With Years In My Eyes’ and ‘Vienna’. Julie Atherton is perfect in panto villain territory, admonishing the audience and making threats as Margaret Thatcher. I didn’t know I needed to see the Iron Lady taking on an Elton John classic until I saw this musical, and now I don’t know how I ever lived without it. Though he’s not introduced until Act Two, Tim Mahendran delights as he kicks off that act as Harvey Goldsmith with a rousing ‘Pinball Wizard’.

The fictional characters become more compelling in the story, all with relatable aspects. Melissa Jacques is stunning as Suzanne, with Hope Kenna bringing youthful innocence and exuberance as her younger self. Fayth Ifil is a driving force to the story as daughter Jemma, while Rhianne-Louise McCaulsky reminds us of the severity of the issues with her more straight-laced Amara, delivering one of the vocal highlights of the night in ‘Blowin’ In The Wind’. Kelly Agbowu and Ashley Samuels make a fantastic double act as Marsha and Jim, with incredible vocals regularly seen from both of them, particularly in ‘Dancing In The Street’. Speaking of incredible vocals, these are not in short supply with some of the best singing you will ever see on a West End stage, with exceptional turns from Eloise Davies, James Hameed, and Freddie Love (tackling the most iconic number in the show) regularly leaving my jaw on the floor.

It may have proven divisive on its initial outing last year but for me, Just For One Day ticks every box when it comes to musicals. Full of songs you know and love, the story will tug at your heartstrings and make you beam throughout. This is a big musical that delivers every element with care amongst the chaos. In that respect, it is everything I would ever want from a musical and proves to be the perfect night out - this was the second time I had seen this musical, and I loved it even more this time around. Bigger doesn’t always mean better, but in this case, it certainly does, and proves that this is one show that should be seen for more than just for one day.

No matter how old you are, there is something for everyone in this inspiring and immaculate musical. More than this, though, the musical is also doing some good in the world by raising more money for the Band Aid Charitable Trust, with more than £850,000 raised at the time of writing this. With that in mind, it might be best to do as Bob Geldof said (or, as it turns out, didn’t say) and give this show your f***ing money!

Just For One Day - The Live Aid Musical is now playing at Shaftesbury Theatre.

Tickets from https://allthatdazzles.londontheatredirect.com/musical/just-for-one-day-tickets 

Photos by Evan Zimmerman