Astles’ sixth annual Christmas show arrived as a welcome dose of warmth on a cold December night, transforming The Music Room into a cosy pocket of communal and familial celebration. Though billed as a festive event, the performance quickly proved to be far more than a yuletide novelty: it was a thoughtful, ambitious evening of orchestral indie-pop guided by Astles’ disarmingly intimate presence.
Frank Sinatra’s ‘That’s Life’ boomed out of the PA as the band took to the stage, before Astles emerged with unmistakable confidence. And why not? 2025 has been a great year for him, a breakthrough year, even, seeing him named one of Liverpool Music City’s “25 for 2025.” The show opened with ‘Cleaning Up the Mess’, ‘Pyramids’ and ‘This One’s for You’, with Astles at the keyboard. His voice, tender and unmistakably sincere, cut through the room with ease, making the material immediately accessible. Backed by the Balloon Moon Orchestra, an ensemble of strings, brass, keyboards and the usual guitars and percussion, the arrangements lifted his songs into widescreen territory without losing their originality.
For ‘When Life Catches You By Surprise’, the second song of the night from his critically acclaimed album Soundtrack for the Twenty One Bus Home, Astles vacated his keyboard and picked up a guitar, further proving what a talented multi-instrumentalist he is. He was confident enough to try out some new material, with ‘Dad Has Got a Brand New Car’ a particular standout. The song was so new that he asked his dad, watching from the audience, what he thought of it.
The evening had promised guest vocalists, and one duly arrived in the form of Beja Flo, who joined Astles for ‘We Could’ve Been Anything’. Arguably the night’s most emotional moment came when Astles called his grandad up on stage to sing ‘Gerry’s Ferry’, a poignant song about a person recognising they have more years behind than in front of them asking to have their ashes scattered on the River Mersey. It was a truly touching gesture.
The Balloon Moon Orchestra then left the stage, leaving Astles to be joined by Ellis Murphy and Callum Thompson for a three-song acoustic set, much to the audience’s delight. ‘Remember Us?’, another song from his album, opened the second set. The orchestra had been augmented by the addition of a trumpet player. ‘Strangers’, another new song, followed, before ‘Flying Machines’, which Astles said his mum should have had a writing credit on. Astles was reminded that it was his friend and piano player Louis Miles’ birthday, so he led the audience in a chorus of Happy Birthday.
The set finished with a blistering, almost glam-rock-frenzied ‘Life Is Not a Race’. The audience roared for more, so Astles returned with the quieter ‘Not Cruel’. By the end of the evening, it was clear why this Christmas show has become an annual tradition. Astles offers something rare: music that feels handcrafted yet unpretentious, delivered with humility and supported by collaborators who enhance rather than overshadow, a seasonal ritual rooted in sincerity rather than spectacle.
Already a storied musician, Astles’ 2026 promises to be even bigger than his 2025.
Reviewer – Adrian Cork
On – 03.12.2025
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