Concert Review: Night-ish - The Northcourt, Abingdon (20th June 2026)

Written: 21st June 2026

On an extremely warm summer’s evening, I made my way to The Northcourt in Abingdon, a compact grassroots venue with an established reputation on the local live circuit. Taking to the stage were Night‑ish, a UK‑based Nightwish tribute act, still very much in their infancy with this marking only their tenth live appearance. A small but deeply appreciative crowd were in attendance and Night-ish were determined to make sure everyone had an enjoyable evening.

With the video for Ad Astra playing on the screen at the back of the stage, the sense of anticipation in the audience rises and the band take to the stage without ceremony. The distinctive click of the winding of a music box signals the start of Taikatalvi – a track performed entirely in Finnish by vocalist Irene Palmas. Opening the show with this song means we know what is coming next and indeed, a surging high-energy rendition of Storytime follows. For such a venue and with the symphonic nature of the music, the sound quality is remarkably strong and Ryan Bareham does a wonderful job of triggering all the orchestral elements as well as playing the keyboards. Re-creating the sound of Nightwish is no easy task but Night-ish impress from the outset.

Going all the way back to the Wishmaster album, She Is My Sin receives a rapturous reception and even though his expression remains studiously impassive for almost the entire gig, bassist Ian Stepheson provides a tight, pulsating foundation. This continues with I Want My Tears Back and Irene Palmas encourages us to dance, sing and punch the air. Throughout the concert, she gives everything she has and on a stifling hot night, this is even more remarkable. The distinctive uilleann pipe lines are handled by the keyboard; an approximation rather than a replica, but a perfectly forgivable one given there is only one Troy Donockley to go around. Next, we are treated to Perfume of the Timeless - a song that not even Nightwish themselves have played live as yet. Night-ish handle it with considerable aplomb and drummer Steve Fletcher and guitarist Jordan Averchenko appear to especially relish the heavier central section.

Night-ish have clearly put much thought into the pacing of their set and after several faster songs, How’s The Heart? is judiciously placed. Palmas is equally adept at the more straightforward nature of this track as well as the more operatic demands of much of the music. It would be impossible to have a Nightwish tribute band without a formidable female singer and she delivers a performance of real authority and presence. As the first half of the show progresses, Night-ish unleash a bombastic version of Wish I Had An Angel and we have a chance to hear the vocals of Jordan Averchenko. His timbre perfectly suits the song’s atmosphere, although there were a few times during the evening when his voice would have benefited from sitting slightly higher in the mix.

When tribute bands are putting together a setlist, there are certain songs that fans might expect to hear but some consideration should be given to one or two rarities and so it proves tonight. However, it is fair to say, I did not expect to hear The Heart Asks Pleasure First – a Michael Nyman song from the film The Piano – which Nightwish recorded as a B’ side to The Crow, the Owl and the Dove. Night-ish handle it with deft delicacy and the sheer beauty of the song gently settles over the room. In contrast, the first half of the evening closes with a driving Amaranth – still one of my favourites - and a darkly beguiling Phantom of the Opera.

After a short interval, another surprise is delivered in the form of While Your Lips Are Still Red. For a band playing only their tenth gig, Night-ish are incredibly tight, their interplay already suggesting the cohesion and confidence of a far more established outfit. This is particularly evident in songs such as Ever Dream, where Averchenko nails the solo, and the utterly gorgeous Sleeping Sun - surely among the finest moments within the Nightwish catalogue.

Irene Palmas shows that her vocal agility is only one aspect of her talent, taking up the tin whistle during Élan and adding an authentic folk texture to the song; it draws the audience in and the soaring, open‑hearted chorus is delivered with infectious enthusiasm. This carries through into Last Ride of the Day, its restless momentum and layered arrangement handled with assurance, the band perfectly navigating its shifts in intensity with composure.

Then we come to what might be the most loved Nightwish song of them all – Ghost Love Score. As the track builds, Palmas approaches it with a quiet confidence, keeping everything measured while allowing each section to unfold naturally. The famous closing passage is handled with real control and as it gathers pace, the atmosphere in the room tightens, the audience becoming completely spellbound during the final moments.

By this point, Night-ish have been playing for close to two hours and no one could have been disappointed if this was the end of the gig. However, Night-ish are far from done and deliver a lively Nemo and a complete performance of The Greatest Show On Earth. Steve Fletcher’s drumming during the latter is unrelenting and precise, coming to the fore during the more intense sections, where his control ensures the piece retains its shape.

For a band still at an early stage in their journey, Night‑ish already come across as a cohesive and well‑drilled unit, each member contributing meaningfully to the overall shape of the performance. Particular credit must go to Irene Palmas, whose vocal performance anchors the entire set with consistency and control. Also worthy of mention, is John Maggs whose lighting and stage effects certainly adds to the overall experience.

The selection of material strikes a careful balance between the expected and the less obvious, and while every listener will have their own personal preferences – I would not have objected to the inclusion of Slaying The Dreamer - it is difficult to find fault with the setlist. As the project continues to develop, it will be interesting to see how the set evolves and which further corners of the Nightwish catalogue are explored.

Performances of this standard deserve wider attention, and as word spreads, hopefully so too does the size of their audience. With Nightwish currently away from the live arena, Night‑ish offer fans a valuable opportunity to hear this music performed in a live setting and I heartily recommend them to any fan. This was an evening delivered to a consistently high standard throughout, the quality never slipping at any point, and one I will certainly be looking to revisit.

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