05 February 2026 (gig)
9 h
Quiet Night Out, hosted by Tinnitus UK as part of Tinnitus Week, offered a rare proposition: a full evening of live music, spoken word, and comedy staged at carefully managed decibels. Held within the hushed grandeur of Union Chapel, the event served as a "proof of concept" for those living with sound sensitivity, proving that live performance needn't be deafening to be deeply affecting.
The evening was tied together by John Swale (The Mother Wolf Club). Accompanied by a keyboardist partially dressed as Cupid, Swale’s dry, understated interludes leaned heavily into whimsy. While the humor was hit-and-miss, the DIY spirit underscored the night’s core theme: connection over polish.
Rob Newman opened with a brief, cerebral stand-up set, providing a gentle, reassuring bridge into the first musical performances. Victoria Dell followed, bringing an infectious, soul-pop energy to the stage. While early in her career, Dell’s youthful exuberance and confident vocal delivery suggest a craft that will only deepen with the right collaborators.
The emotional heart of the night belonged to Daisy Chute. The American-Scottish folk singer delivered a masterclass in intimacy, drawing the audience into her clear, warm arrangements. The highlight was the arrival of Tim Bricheno (All About Eve / The Sisters of Mercy). Marking his first stage appearance in seven years due to the impact of tinnitus, their co-written piece about the condition provided a poignant, visceral reminder of the evening's purpose.
The sonic palette expanded with members of the Penguin Cafe ensemble. Utilizing the Chapel’s natural acoustics with harmonium, double-bass, and strings, they captured the eccentric charm of the original Orchestra while injecting a fresh, joyful vitality.
South London’s Cosmo Pyke showcased professional resilience, pivoting to a purely acoustic set following technical guitar issues. His laid-back blend of reggae and hip-hop thrived in the room’s natural resonance. While a subsequent bawdy puppet sketch felt tonally jarring, poet Kate Ireland quickly restored the gravitas. Her flawless spoken-word set proved that "quiet" is often where the greatest intensity resides.
The finale fell to Justin Sullivan (New Model Army). Despite a lean twenty-minute window, Sullivan left a powerful impression. A visible contingent of devoted fans were out in force and would undoubtedly have welcomed a longer set, but Sullivan made every second count. His performance featured New Model Army classics such as Fate, Marrakesh, and Where I Am, alongside a poignant, relevant spoken-word rendition of Another Imperial Day. For You Weren’t There, he ran the backing track from an “old phone,” freeing himself to focus on the vocals and harmonica. Meanwhile, Sun on Water was, in his own words, "the closest he has ever come to writing a hymn," a moment perfectly fitted to the occasion.
Quiet Night Out may have been a stylistic mixed bag, but its heart was undeniable. It succeeded in its primary mission: delivering a powerful, inclusive musical experience that respected the ears as much as the soul.
