Multi-award-winning impressionist and classically trained vocalist Jess Robinson brings her acclaimed comedy cabaret show, Your Song: Elton Reimagined, to the Piccolo Tent in Assembly George Square Gardens for the Edinburgh Festival Fringe. Running daily at 19:15 from 5th August through 30th August 2026, the one-hour performance reconstructs Sir Elton John’s legendary pop catalogue through the distinct vocal styles of famous female artists, including new impressions of Lily Allen and Raye alongside Billie Eilish, Amy Winehouse, and Barbra Streisand.
Created in collaboration with musical director Matthew Floyd Jones on keyboard, the show combines musical comedy with vocal mimicry inside Assembly’s atmospheric canvas tent in the heart of George Square. Designed for Fringe audiences seeking accessible musical entertainment, tickets range from £10 to £16.50 for the 14+ guideline-rated performance. Below is the full, unabridged interview with Jess Robinson as she discusses tackling Elton’s songbook, navigating her tenth Edinburgh run, and her favourite local haunts across Morningside and the Grassmarket.
Elton Reimagined brings the music of Elton John to life through the voices of iconic women, including new additions for 2026 like Lily Allen and Raye. How do you decide which female artist’s vocal style will completely transform a specific Elton classic?
I like to start with voices that feel really distinctive and contrasting in style and tone to what’s already in the show. Lily Allen and Raye are both gifts in that sense. As soon as you hear their voice on the radio you know it’s them – without the DJ announcing it… Whereas – although I adore Taylor Swift, and Olivia Rodrigo – I feel their voices and style are less immediately identifiable. Part of the fun is the audience being in on the musical jokes so they notice clever riffs or musical motifs or vocal tics that I’ve mashed into Elton’s amazing hits. Also – Elton’s songs are so brilliantly written that they survive almost any interpretation. It’s funny – hearing Candle in the wind sung by Billie Eilish and mashed I was ‘What Was I Made For’ from the Barbie movie brings new meaning to the song… there are many ridiculously silly and camp moments – Shakira’s version of ‘I Guess That’s Why They Call It The Blues’ or Gaga’s ‘Crocodile Rock’ – but others are genuinely moving. A song you thought you knew suddenly feels heartbreakingly vulnerable or gloriously defiant. I also love putting together combinations that nobody would expect. If people spend the first ten seconds thinking, “Surely she isn’t going to…” then I’m usually onto something.
You collaborated with Matthew Floyd Jones on this show. What does the creative process look like when you are dismantling a legendary track and rebuilding it with a completely different vocal identity?
Matthew is the perfect person to do this with because neither of us is precious. We start by asking ridiculous questions. What if Kate Bush sang Yellow Brick Road? What if Lily Allen got hold of Honky Cat? What if Alanis Morissette wandered into the studio? There’s a lot of coffee and biscuits and laughing. Then we just have a go. Matthew plays, I sing in the voice we’re trying to arrange for… we stop – we try a different key or time signature. We’ll often choose a really famous and stylistically distinctive song for the artist as a starting point, for example with Barbra Streisand’s version of ‘I’m Still Standing’ – or rather ‘I’m Still Streisanding’, we begin with in the style of ‘The Way We Were’ with Matthew using some of the the same chord progressions. By the end of the song Barbra is belting out the most defiant Broadway version of the song in the style of Don’t Rain On My Parade. It’s hugely uplifting and always brings the house down. It’s a bit like taking apart an expensive Swiss watch, laying all the pieces on the table, and somehow building a completely different watch that still tells exactly the same time. Occasionally we look at each other and say, “This is either genius… or we’ve completely lost the plot.” It’s usually both.
The Piccolo Tent at Assembly George Square Gardens has a fantastic, intimate atmosphere. How does the energy of a classic Fringe tent shape a musical comedy performance compared to a traditional theatre space?
I absolutely love it. Having toured the show regionally earlier this year in a different venue every night, I am so looking forward to being back in one place and the Piccolo Tent couldn’t be a better home. The audience are practically in the show with you. It’s so much more fun for me to be able to see people nudging each other when they recognise an impression rather than being blinded by lights and looking out into darkness. In a big theatre there’s a lovely sense of occasion, but in the Piccolo Tent there’s something deliciously immediate. It feels like everyone’s in it together. Every laugh, every gasp, every little intake of breath lands straight back on stage, and I can play with that. It’s a conversation rather than a presentation. By the time everyone leaves I feel like we’ve all done the show together. It feels like ‘US’, rather than ‘ME’ vs ‘THEM’ if that makes sense?
Performing a high-energy show nearly every night for a month takes a serious physical toll. What is your go-to routine for looking after your voice and recharging your batteries during the Fringe run?
Oh god – well it’s my tenth fringe. In 2013 I was out every night drinking neat tequila and dancing on tables. Now, I will allow myself a few nights of that, but – (please don’t be sick when you read this next bit) – I do reformer pilates most mornings and I generally like to be in bed before midnight… That’s more or less where it ends. I should do sensible warm-ups, and become fiercely protective of my voice. I should be the person silently mouthing thank you in a café rather than shouting over the coffee machine but I’m pretty casual and my voice is robust. Also after doing the full 90 minute show for the past few months, 60 minutes feels like a breeze!!
When you have a rare afternoon off—or on your official rest day on the 17th—where is your favourite spot in Edinburgh to escape the festival crowds and find some quiet time?
On my one day off I won’t go into the centre of town at all – I’ll probably book a massage. I stay with my cousin in Morningside so I might wander into Bruntsfield for a lovely coffee. Or visit Prestonfield House Hotel. It feels like home from home actually. I have hosted loads of charity fundraising galas there of the past few years. I know the staff really well and I always get a warm welcome. May this year it’ll be afternoon tea in the Tapestry Room.
Edinburgh has an incredible independent food scene. Are there any local restaurants, cafes, or hidden gems you always look forward to visiting when you return to the city?
It’s got to be Cold Town House on The Grass Market. Their pizza is INSANE. The views of the castle from the rooftop is just so stunning and I love their beer. It’s a great place to hang out when you’re hungry and thirsty after a show.
The sensory experience of Edinburgh in August is unique, from the cobblestones to the changing weather. What is the first thing you see, hear, or smell that makes you think, “I am finally back at the Fringe”?
It’s all of the show posters. I love seeing the colours and images and titles and getting excited about what I want to see.
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Your career spans everything from Spitting Image to Britain’s Got Talent. How does the immediate, live feedback of an Edinburgh audience compare to performing in a television studio or a voiceover booth?
I genuinely love all three because they’re completely different muscles. And now I’m a published author too. My book Life is Rosi – Grandma Me and Our Diaries at 23 was released in January – published by HarperCollins. Voiceover work is wonderfully microscopic. It’s all about tiny details. Television is brilliant, but you’re often performing for a camera and trusting that someone, somewhere, will laugh later. I wrote my final draft of my book during last year’s fringe and the quiet focus was a wonderful contrast to the chaos of the Fringe. The Edinburgh audiences tell you instantly whether something works. They’re your editor, your producer and your focus group all rolled into one. If a joke needs another beat or an impression needs pushing a little further, they’ll let you know within about half a second. It’s terrifying… and I absolutely love it.
For locals who might be overwhelmed by the thousands of shows on offer this August, what is the core reason they should make Elton Reimagined a definitive part of their Fringe itinerary?
Well, you won’t be taking a punt with this show – it’s tried and tested and has gained 16 four and five star reviews now. My mission is to spread joy. You’ll hear songs you already love in a way you’ve never heard them before. You don’t need to know every Elton John album, and you certainly don’t need to know every impression I do. If you enjoy brilliant music, a bit of silliness, getting goosebumps and leaving with a huge smile on your face, then I think you’ll have a lovely time. As ITV put it – It’s like a mega concert with all your favourite stars.
If you had to pick one Elton John track that perfectly captures the spirit and chaotic energy of Edinburgh during festival season, which one would it be and why?
It has to be I’m Still Standing. By week three everybody’s a bit sleep deprived, you’ve done approximately 47,000 steps a day, you’ve had three different weather systems before lunchtime, and somehow you’re still flyering with a smile on your face. That song has exactly the spirit of the Fringe. Slightly frazzled… slightly delirious… but determined to keep going because there’s nowhere else in the world quite like it.
Thanks, Jess!
Summary and Ticket Information
Your Song: Elton Reimagined provides a high-energy hour of cabaret entertainment, showcasing Jess Robinson’s remarkable vocal range alongside Matthew Floyd Jones’s musical arrangements. For locals and visitors heading to Assembly George Square Gardens this August, it stands out as an established, top-tier musical comedy highlight of the festival programme.
- Venue: Piccolo Tent, Assembly George Square Gardens, Edinburgh (EH8 9LH)
- Dates: 5th August – 30th August 2026
- Time: 19:15 / 7:15pm (60 minutes)
- Tickets: £10.00 – £16.50
- Booking: Tickets are available directly through the Edinburgh Festival Fringe Box Office.
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