Festival Fringe Programme launched

Today, Thursday 4 June, the Edinburgh Festival Fringe Society is delighted to launch the 2026 Edinburgh Festival Fringe programme.

This year’s programme celebrates the diverse range of creativity at the Fringe and includes work from 71 countries – reinforcing the Fringe’s place within the world’s cultural landscape, with performers hailing from around the globe.

The programme features 3,649 shows across 258 venues, making up 53,884 performances, with themes tackling some of the most topical issues being discussed in the world today. Prominent themes include artificial intelligence, cults, the manosphere, identity crisis, social class, Y2K nostalgia, the state of the world and resilience and hope.

Launching the 2026 Edinburgh Festival Fringe programme, Tony Lankester, Chief Executive of the Edinburgh Festival Fringe Society, said:‘Programme launch is an exciting moment for everyone involved in making the Festival Fringe happen. Thank you to the artists, venues, producers, technicians, promoters, support staff and audiences that bring their unique creative lens and exceptional energy to Edinburgh each August.

‘Within the number of productions registering this year, we’ve seen a notable increase in artist registrations from overseas. This tells us that, despite the economic and political headwinds the world is facing, the Fringe continues to be relevant and important to our artists, and taking part marks, for them, a significant moment and investment in their careers.

‘This year’s Fringe programme is packed with every kind of performance, so we’re asking audiences to mix it up and explore the unique, creative performances available at this Fringe.

“From theatre or circus, or the best of comedy, music, dance, children’s shows, magic or cabaret, there is something for everyone in Edinburgh this August.’

Key themes and sections:

New show additions

Themes

Artificial intelligence

The state of the world

Resilience and hope

New and interesting venues at Fringe 2026

Thanks to Fringe Society supporters and partners

New show additions

In Cabaret and Varietyat theSpaceUK,Confirmation Sponsor Variety Hour presents ‘the best damn talent show ever’ that is ‘sponsored by God.’ Head to artSpace@St Marks for a Piano Recital of Dvořák’s Suite, with ‘much variety and richness.’show

In Dance and Physical Theatre, Korean Tightrope Walking explores the ‘edge of balance and freedom’ through the traditional theatrical form of jultagi at Meeting Point at the Meadows.

There are a range of new shows at the Scottish Storytelling Centre. In Children’s Shows, Romeo and Juliet for Bairns portrays ‘an immersive, theatrical, comical version of the love story of Romeo and Juliet’ just for children. Exhibition: Craigmillar Tapestry showcases ‘a community initiative to create a series of tapestry panels representing the rich history of Craigmillar.’ The Scottish Storytelling Centre also presents Spoken Word performances such as Traditional Tales, which explores ‘folk tales, fairie tales, myths and legends, stories which have been handed down to inspire and entertain across generations.’

In theatre,the Scottish Storytelling Centre’s Irrational explores the balance between mathematics and storytelling to ‘reflect on the role of mathematics in Western culture.’ In Marjolein Robertson: Shetland Folklore at Traverse, Robertson takes audiences ‘across the sea to the UK’s most northerly isles for an hour of immersive tales.’ Meanwhile, over at theSpaceUK, Until Hope Fades Away ‘follows Ali, a young man anxiously waiting at an old harbour for the return of his father.’

Themes

Artificial intelligence

At Pleasance, Copycat features Fringe First winner Joe Sellman-Leava as he explores whether ‘AI spells the end of humanity, or a dawn of a new utopia?’ At Hoots, Australian freestyle comedian Stian Macshane challenges a custom-built AI controlled entirely by the audience to a fully improvised rap challenge in RapGPT: Macshane.

Head to Assembly for An Echo in the Void, ‘a darkly funny, emotionally charged chamber thriller’ about four strangers who must choose between a painful reality and a perfect world designed by AI.

At Just the Tonic, Improbotics Presents: Artificial Reality, letting ‘audiences become producers of a reality show… Because of budget cuts, “celebrities” are recreated using questionable artificial reality methods (deep fakes, video generation and AR glasses to send lines from a chatbot to control the “celebrity”).’

‘Can you create a new and exciting innovative business and still be ethical?… The Provocateurs: Ethical Innovators? / Satellites Destroy Privacy at The Stand Comedy Club explores if new ideas and technologies – including AI – can still be ethical and inclusive’. Over at Venue 13, ‘step into an intimate, immersive campfire where mythical forces of nature meet in the shadow of a changing world. Once again guided by AI database, Symbiolene, as she conjures figures from her past: The Green Man, Brigid and the Cailleach’ in AI Campfire (return).

Cults

At Laughing Horse, The Buddha Wears Prada is ‘a dark stand-up comedy hour about Sofia May’s experience as a former member of a Buddhist cult’s inner circle.’ All Religions Explained – The Cabaret Musical is ‘a piano-pounding cabaret musical celebrating faith and the human comedy of belief’ at PBH’s Free Fringe.

Taking place at Gilded Balloon, Brit Barron: CHURCH explores stand-up, storytelling and gospel music about Barron’s experience as a former megachurch pastor. Meanwhile, Prophets from Fringe First-winning writer Jack MacGregor is at Assembly,travelling to Saint John to research the ‘dangerous theology of the cult’ that has taken over.

At Laughing Horse, Eat Pray Cult is ‘ a stand-up comedy about getting divorced and joining a cult’ in a ‘seasonal, off-grid, techo-futurist protopia and decentralized intentional community’.

Sex, Drugs and Conscious Souls at PBH’s Free Fringe explores the unlikely love story built upon polyamorous throuples between a pastor and a prostitute. It focuses upon ‘healing from religious trauma and mental illness while exploring society’s stigmas around sex, drugs and new age consciousness.’

Audiences can also join Jonas and Sylas, who tell their experiences of escaping a cult in Oh My Jehovah! at Hoots.

The manosphere

At Pleasance, MAN!FEST: The Drag Boyband Musical is the ‘riotous drag musical that exposes toxic masculinity and its effect on boybands and fangirls.’

At Monkey Barrel Comedy, Finlay Christie: Champagne Casanova provides an hour of stand-up discussing ‘the myths constructed by incels, billionaires and even human people, that mean we don’t have to admit we’re ordinary, rejected or wrong. There’s also a strong section on air fryers.’ Alice Fraser: Oh Man! is alsoat Monkey Barrel Comedy, with some ‘stuff to say’ about masculinity, featuring ‘a sentient Roomba and some Ancient Greek philosophy’.

In Aideen McQueen: Wo-Manosphere at Gilded Balloon,McQueen ‘finally understands dating, boundaries, attachment and the male loneliness epidemic’ in a stand-up show exploring masculinity and female delusion.

Explore a single mother’s ‘real-world encounter with the Manosphere that stokes her rage’ in SLAYERS by Corinne Salisbury at Assembly.Also, No Hard Felix follows Felix as his ‘chaotic quest to “fix” himself spirals into an accidental journey into vulnerability and the scared parts of himself he’s spent a lifetime avoiding’ at Just The Tonic.

Over at Greenside, Shinjuku follows a woman’s unfinished business in a ‘darkly funny exploration of women’s choices in a man’s world.’

Identity crisis

In Extraordinary Alien at Le Monde, a Jewish actress and mum new to New York must prove she’s exceptional in a stand-up about ‘ambition, impostor syndrome and never quite fitting in.’ In Why English?, an Indian woman ‘questions her life in the post-colonial era’ through physical theatre at Assembly.

At Greenside, Chloe Campbell Bites Back explores Campbell’s move from County Down to London and tackles her Irish/British identity. Also at Greenside,Abby tells the story of her ‘immaculate-conception-adjacent origin story’ featuring ‘gay divorce, coming out as straight, OCD, Jewishness and Germans who fetishise it, and career heartache’ in Most of My Moms Are Gay.

Former astrophysics researcher Rao explores being ‘a brown Australian navigating family expectations, creative work and burnout in a confusing world, whilst clinging to a sense of joy’ in How Now Brown Rao at Laughing Horse.

Tap Out! (Or I’ll Hit You Again) at Gilded Balloon is a ‘dramedy story about violence, masculinity and morality; an examination of identity, purpose and male loneliness.’ Lance Mao: The Pig with the Dragon Tattoo at Hoots offers ‘a dark confessional hour about racism, mental health, fear, and embracing your crazy’ as ‘a perpetual foreigner’

Social class

‘Expect class clashes, romantic disasters and the familiar feeling of trying to do the right thing, and rarely succeeding’ in Gareth Mutch Means Well at The Stand Comedy Club. Follow a portrayal of ambition, social mobility and culture shock featuring ‘pink shell suits, Playboy garms, and Britpop’s parting cries’ in comedy Giro Baby at Greenside.

Drag performance I AM JOHNNY explores the ‘fragile power dynamics, performative masculinity and ownership of the female body’ at Summerhall.

Irene Cleans Up tells the story of an unlikely partnership between a London cleaner and a successful competitive sommelier, exploring reinvention, friendship and the ‘courage to redefine yourself’ at Paradise Green.

haim. teeth. CLUB. explores the story of a ‘working class Scottish young woman at the centre of her own narrative – as a living, breathing, contradictory person’ at Underbelly.

At Pleasance, Emmeline Downie: Gail ‘gives a voice to the voiceless: vivacious middle-aged women from Milton Keynes’.

A&E at theSpaceUK ‘invites the audience to sit in the A&E waiting room and participate in humanity’s favourite activity: voyeurism’ while meeting hospital regulars.

Y2K nostalgia

At Pleasance,Cecily Hitchcock: Family Recipe dives into ’00s Britain where ‘Blair and Brown played in her child mind like a Greek tragedy’.

They’re Just Small Town (Northern) Lads at Summerhall explores boyhood, masculinity and the moments young boys must decide what kind of men they will become in a Northern UK working-class town in 2000.

At Underbelly, Saving Britney, inspired by the #FreeBritney movement, returns to the Fringe to explore how the princess of pop, Britney Spears, influenced millennials’ lives and led to ‘an unbelievable moment of self-discovery.’ Over at Laughing Horse,00s Throwback Party explores Noughties’ iconography of ‘Fad diets. Flip phones. MySpace. MSN.’ through a multimedia performance.

YUCK Circus: Naughties is celebrating a decade not to be forgotten, featuring ‘high-flying acrobatics, comedy and absolute bangers’ at Assembly. Based on the film, Brassed Off shows ‘the value of solidarity and friendship and the power of music’ at Inverleith St Serf’s Church Centre.

We Were Young is at theSpaceUK, telling ‘a powerful and hilarious story about the realities of gang culture and young team mentality in Glasgow during the 90s’.

The state of the world

In Broken Planet Show at Just the Tonic, ‘comedy, circus and indie cosmic lunacy collide in an ever-changing nightly riot of world-class weirdos, hellbent on healing our planetary divide.’ Also at Just the Tonic, Meka Mo uses New York as a lens to comedically explore the multicultural world in ‘an age of political chaos and cultural contradiction’ in New York City Dreams.

Lorraine Hoodless: Mean at PBH’s Free Fringe tells Hoodless’ account of ‘burnout, billionaires, consumer guilt, the myth of meritocracy, and the slow collapse of society.’ The Last Funny Womanat PBH’s Free Fringe features Kate, who thinks ‘it is time to burn [the world] down.’

Political comedian Matt Forde ’embarks on finding joy amid global political turmoil, the rising tide of populism and his own ongoing health challenges’ in Matt Forde: Project Holy Moly at Pleasance.

At Paradise Green, The Pod is a comedy play about grief, the state of the world and the importance of human connection, as Kaia and Adam move to a ‘doomsday bunker that might jettison into space when the world ends in eight minutes and 19 seconds’.

Will Adamsdale tell his robo-bromance about finally embracing his old enemy technology in Will Adamsdale: AI, AI, Oh… (Or How I Wrote a Hit Sitcom with ChatGPT But We’re Not Talking Now) at Underbelly.

Resilience and hope

Part of the Made in Scotland showcase, FLOWERCORE by Siobhan Wilson at The Gilded Saloon is a celebration of ‘preservation, belonging and resilience through music and immersive imagery featuring flower videography and flower art by Scottish artists’.

In his first show in 25 years, Bruce Devlin: Mummy Loves M&S at The Stand Comedy Club explores ‘the four Ds: death, dyslexia, divorce and Dundee’, as well as the need for resilience and the power of laughter in the face of life’s challenges.

At the Ukrainian Community Centre, the Solo Way Ukrainian Choir ‘connects audiences to the passion, resilience and joy of Ukrainian music.’ At the Scottish Storytelling Centre, The Dark Pool explores ‘disability and resilience in the face of trauma and societal expectations’.

Jessies at theSpaceUK ‘dives into the highs and lows of queer life’ between 1980 and 1995 for ‘three unforgettable drag queens.’ Also at theSpaceUK, A Forgotten Woman: Mrs Oscar Wilde explores Constance Lloyd’s life ‘told through letter excerpts written in her own hand’ which reveal her ‘wit to rival Oscar [Wilde’s]’.

At The Speakeasy at The Royal Scots Club, Alan Bennett’s Talking Heads, a ‘multi-generational company of Edinburgh-based women, perform four of Alan Bennett’s iconic Talking Heads monologues’ exploring loneliness, desperation and resilience through humour.

New and interesting venues at Fringe 2026

Gilded Balloon Teviotreopens for the Fringe after being closed for renovations since September 2023, featuring Brit Barron: CHURCH, Fab Goualin: Mixed Messages, Aideen McQueen: Wo-Manosphere and many more.

Sauna Theatre @ Summerhall is a working sauna and will feature shows such as Morning Sauna Rave, Mysteries of the Picts and Bubble Schmeisis (Remixed). Sauna Theatre will be a hub for relaxing and recharging, as well as experiencing choreography and storytelling through traditional sauna rituals.

Brown’s of Leith is hosting a ‘site-specific adaption of Andrew O’Hagan’s best-selling novel’ Mayflies, part of the Made in Scotland showcase, within Leith’s unique Victorian engineering works.

Pianodrome’s new, second location at St Oswaldsshares ‘the world’s first amphitheatre made entirely from disused pianos’ which will feature free shows, evening events and workshops such as Golden Beryl: Special Oblivion, Piano Dismantling Action and Vroni’s Streetpiano Party.

Thanks to Fringe Society supporters and partners

The Fringe Society is grateful to the many partners, supporters, funders and sponsors this year. They would like to thank Cheez-It, The Magnum Ice Cream Company, Edinburgh Gin, Baillie Gifford, Cirrus Logic, Apex Bars & Events, Binks Trust, Bloomberg Philanthropies, PPL, EventScotland, VisitScotland, and Young Start – The National Lottery Community Fund.

The Fringe Society would also like to thank the UK Government, Foyle Foundation, SP Energy Networks, and the Changing Places Toilets Scotland Fund for their support of Fringe Central. The Scottish Government and City of Edinburgh Council for strategic funding support, the Scottish Government’s Festivals EXPO Fund support for the Made in Scotland programme; and Screen Scotland for supporting Screen Fringe.

The Fringe Society works with accommodation partners who provide much needed affordable accommodation to artists – they would like to thank Queen Margaret University, the University of Edinburgh and Theatre Digs Booker.

Health in Mind are also returning in 2026 to support the delivery of mental health and wellbeing services within Fringe Central.

Edinburgh Festival Fringe in numbers

Number of shows: 3,649
Number of venues: 258
Number of countries: 71
Number of premiers: 1,748
Shows from the UK: 2,516
International shows: 1,133
Pay What You Want / Pay What You Can: 691
Number of performances: 53,884

There are 935 Scottish shows.

Shows within each section:
- Cabaret and variety – 166 shows (4.5 %)
- Children’s shows – 127 (3.5 %)
- Comedy – 1,401 shows (38.4 %)
- Dance, physical theatre and circus – 115 shows (3.2 %)
- Events – 69 shows (1.9%)
- Exhibitions – 35 shows (1%)
- Music – 388 shows (10.6 %)
- Musicals and opera – 168 shows (4.6 %)
- Spoken word – 155 shows (4.3 %)
- Theatre – 1,025 shows (28.1 %)

This year’s Edinburgh Festival Fringe will run from 07 – 31 August 2026.

National Galleries of Scotland kicks off Pride Month with announcement of Catherine Opie’s powerful photographic portaits at the National this Summer

Catherine Opie: To Be Seen

National Galleries of Scotland exhibition – the Royal Scottish Academy building

Saturday 8 August – Sun 1 November 2026

Tickets £3.50 – £14 | Friends and under 18s go free

Catherine Opie | To Be Seen | National Galleries of Scotland

Discover powerful photographic portraits by groundbreaking American artist Catherine Opie in the National Galleries of Scotland’s showstopping summer exhibition.

Curated in collaboration with the artist, Catherine Opie: To Be Seen is Opie’s first ever solo exhibition in Scotland.

Specially adapted for presentation at the Royal Scottish Academy in Edinburgh, To Be Seen presents a unique experience of the people, communities and stories in the art of Catherine Opie.

The exhibition comes to Edinburgh from the National Portrait Gallery in London, having already received rave reviews from the likes of The Guardian and the Independent, with Time Out calling it ‘something worth celebrating’.

Tickets are on sale now and for the first time, under 18s can visit the National Galleries of Scotland summer exhibition for free.

Explore nearly 80 vibrant portraits by Opie alongside her selection of works from Scotland’s national art collection. Displayed across seven rooms in the Royal Scottish Academy building, come face to face with Opie’s mentors and collaborators, Queer communities, children, surfers, high school footballers and political crowds as well as self-portraits of the artist.

See Opie’s work alongside a selection of 13 paintings from the national collection in arrangements prompting new narratives around ideas of identity. Join Opie as she questions ‘what is identity right now, and how do we look at it?

Where and how do we belong’. Documenting people brought together by common experiences or a shared sense of identity, Opie celebrates these communities by making them visible and offers us a platform to recognise ourselves in her exquisite and colourful images.

Thought-provoking and visually powerful, her striking work challenges who is represented in art and who remains unseen. Depicting a world made meaningful through connection, the artist says: ‘If you can walk away having a little better understanding about being human, that’s what I care about the most.’

One of the most influential artists of our time, Opie’s work is driven by the urgency to examine the ebb and flow of human culture and communities. Journey through 35 years of the artist’s work as she questions representations of home, intimacy and family, and explores politics, identity and power structures.

At the basis of her practice is her ongoing questioning of evolving ideas of community, identity and belonging. For Opie, portraiture is a radical act of representation – a desire to make the invisible visible and a gesture of belonging and resistance. Opie’s art attests to a great sense of humanity and care.

Whether as a university professor, a mother, a member of the Queer community, an American, or a world citizen, her portraits of fellow artists, friends, children and protestors draw attention to the power of visibility.

From photographs covering Barack Obama’s presidential inauguration, Tea Party rallies, and LGBTQ+ rights protests, to tender family moments and vulnerable self-portraits, Opie’s photographs collapse divisions between the personal and the political.

Experience Opie’s portraits alongside works such as Benedetto Gennari’s Elizabeth Murray, Duchess of Lauderdale and Pablo Picasso’s Mère et enfant and consider how history is recorded through portraiture.

Opie says, ‘What first drew me to photography was the idea that history was being made and language was being made through images.’

The artist has long been influenced by historic portraits, taking early inspiration from Hans Holbein the Younger. Inspired by Holbein’s precise renderings of nobility, Opie sought to give stature to her friends and challenge notions of ‘normality’.

Opie’s first major work, Being and Having (1991) is her own representation of identity challenging gender norms. Comprised of 13 closely cropped portraits of Opie and her friends enacting their masculine personas, Opie considers these her ‘own royal portraits,’ and affirms that ‘without representation, there is no visibility’.

To Be Seen will span the artist’s most famous works, with Opie’s own identity also threaded through the exhibition. Works range from ennobling portraits of the artist’s LGBTQ+ friends, Baroque inspired portraits of artists, images chronicling the likes of 1990s West-Coast leather dyke scene alongside her own experiences of family life and community.

Opie says, ‘I like to think that portraiture literally creates a history of one’s community’. The exhibition’s wide-ranging portraits span intimate studio shots capturing moments of vulnerability, pride and resilience to socially engaged documentary narratives.

Born 1961 in Sandusky, Ohio— the American Midwest—Opie got her first Kodak camera at the age of 9 and remembers, ‘I photographed everything around me’.

Her fascination with photography continued throughout her childhood after she moved to California at the age of 13. She fashioned her teenage years, through friendships forged by taking photographs of school plays. Opie was later encouraged to study photography at the San Francisco Art Institute.

Moving to the city she worked and lodged at the Kenmore Residence Club, coming out as a lesbian and having her first significant relationship.

Later, Opie studied for a master’s at the California Institute of the Arts, where she developed her critical approach and secured her technical knowledge.

Rising to prominence in the early 1990s, Opie has since been at the cutting edge of documentary and portrait photography. She taught at UCLA for 25 years and was the Endowed Chair, Department of Art at UCLA (2021–23), retiring in 2023. Opie currently lives and works in Los Angeles.

Catherine Opie said: ‘After my first visit to Edinburgh it is a deep privilege and honour in bringing To Be Seen to a place that immediately felt like home.

“I’m looking forward to getting to know Scotland in the exchange of ideas and humanity when I return in August.“

Anne Lyden, Director General of National Galleries of Scotland, said: ‘One of the most significant artists of our time, Catherine Opie is really not to be missed this summer!

“We are so excited to be working with the National Portrait Gallery, London, to host the artist’s first ever solo exhibition in Scotland. We cannot wait to share these incredibly powerful and human portraits with the people of Edinburgh and beyond.

“Opie’s life’s work resonates with our values to offer our audiences a feeling of community, connection and fun! We hope that our visitors find these moments while they explore this wonderful exhibition by a truly groundbreaking artist.’

Catherine Opie: To Be Seen is a National Galleries Scotland exhibition taking place in the Royal Scottish Academy building, opening on 8 August 2026.

Tickets on sale now!

The exhibition also forms part of the Edinburgh Art Festival, the UK’s largest annual festival of visual art, from 14 – 30 August, presenting alternative perspectives across the breadth of the city.

Catherine Opie: To Be Seen is kindly supported by the players of Postcode Lottery and Friends of the National Galleries of Scotland.

Scotch Whisky Experience celebrates 25 years of the award-winning Amber Restaurant

The award-winning Amber Restaurant at The Scotch Whisky Experience has announced a series of food and drink offerings to celebrate its 25th anniversary. To mark the milestone, the restaurant has launched two retrospective menus featuring some of Amber’s most memorable dishes from the past 25 years, alongside a specially created anniversary cocktail, the Amber ’25.

Since opening in 2001, Amber has helped champion whisky pairing and whisky-led cooking within Scotland’s dining scene, pairing dishes with whiskies from all five whisky producing regions.

At the heart of the celebrations is the limited-edition ‘Taste of Scotland’ menu, running across two periods, 20^th – 24^th May and 23^rd – 30^th November. Curated by Executive Chef David Neave, who has led the kitchen since the restaurant opened, the menu revisits a selection of standout dishes from the past 25 years. Each course reflects the evolution of Scottish seasonal ingredients and Amber’s distinctive approach to whisky-infused cuisine.

David Neave, Executive Chef at Amber Restaurant, said: “Reaching 25 years at Amber Restaurant is a hugely proud moment for all of us. This anniversary menu, created by our team of chefs, is an opportunity to celebrate the very best of Scottish produce and revisit the dishes that have helped define who we are, as a restaurant, over the years.

“Whisky has always been central to our cooking, not only as a pairing, but also as an ingredient that can bring real depth and character to a dish. Looking back at these menus has been incredibly special and reflects the journey Amber has been on over the past 25 years.”

Amber was also the restaurant that introduced the concept of Scottish tapas, creating small plates designed to give visitors from around the world the opportunity to experience a broad taste of Scotland in one sitting. A quarter of a century on, the concept remains at the heart of the restaurant, with a celebratory Scottish tapas offering running throughout the anniversary year and featuring guest favourites from across the decades.

Wendy Neave, Head of Events and daughter of Executive Chef David Neave, said: “Amber Restaurant is extremely special to our family. My father, David, has led the kitchen with real passion since the beginning, and my brother Michael has also played an important role in the kitchen over the years, following in his father’s footsteps, so it’s something we’ve all been closely connected to.

“Our team have always been passionate about showcasing the very best of Scotland to our guests, and that’s what led to the creation of our Scottish tapas concept. We wanted visitors to have the opportunity to experience a wide variety of Scottish dishes and flavours in a small plate format.”

To find out more about The Scotch Whisky Experience’s Amber Restaurant please visit Amber Restaurant.

Missing Man: Have you seen Christopher?

POLICE are appealing for information to help trace a man missing from Edinburgh.

Christopher Rodger, 53, was last seen in the Gyle area around 9am yesterday (Friday, 29 May, 2026).

He is described as being around 5ft 10in in height, of slim build, with short dark hair. When last seen he was wearing a khaki bucket hat, a khaki jacket, a black t-shirt, black trousers and white trainers.

He is known to frequent the Meadows city centre area.

Inspector George Nisbet said: “It is unusual for Christopher not to be in touch with his family and as time passes concerns are growing.

“I am appealing for anyone who has seen Christopher or who has any information on his whereabouts to contact us.

“I would also ask anyone who was in the area who may have dash cam or private CCTV footage which could assist to get in touch.”

Anyone with any information is asked to contact 101 quoting reference 3889 of 29 May, 2026.

Audiences up at this year’s Tradfest

A CELEBRATION OF THE PAST, THE PRESENT & THE FUTURE OF TRAD IN EDINBURGH

Multi-award winning Scottish folk band Session A9 closed this year’s Edinburgh Tradfest with a standout live performance, and multiple encores at the Traverse Theatre on Monday 11 May.

The festival ran from (1-11 May) and included 11 days of live music, talks, workshops, folk film screenings and storytelling, thanks to continued support from Creative Scotland and the William Grant Foundation.

This year’s programme of over 60 events, was a tremendous success, with organisers enjoying:

● A 9% increase in ticket sales to music events at the Traverse Theatre.

● Multiple sell-outs including award-winning Connemara singing sensations Séamus and Caoimhe, Kim Carnie, Eilidh Shaw and Ian Carr, The Onlies, Deiseil: Dancing in Time, Nexus Project, Dick Gaughan in conversation and Session A9.

● Standing ovations for multiple performers including: Rajasthani folk trio SAZ; and Ukrainian folk musician and live-looping artist GANNA.

● Free pop up performances from Astro Bloc at Edinburgh Airport, SAZ at the Aroma Restaurant and Bar in Broxburn, and Dauntless at Nobles Bar in Leith.

● An increase in audiences aged under 26 thanks to the festival’s £9 ticket offer for younger audiences. Under 35s up from 21% to 25%

● A more international audience than ever before with 21% of the audience from outside the UK, whilst still being popular in the local area – 73% from Scotland (55% from Edinburgh).

This year’s music commission A’Chiad Litir, (The First Letter) also received 5-star reviews.The piece, inspired by the life of sixteenth-century lesbian love poet Marie Maitland, touched on questions of language, identity and the notion of queerness and was created and performed by renowned singer songwriter and composer Josie Duncan.

Joining Josie was a stellar line-up of musicians including; Charlotte Printer (bass and vocals), Chloë Bryce (fiddle), Eilidh Rogers (percussion), Jenny Clifford (guitar) and Ashley Douglas (spoken word) who read one of Marie Maitland’s poems addressed to another woman she loved.

Other stand-out highlights from this year included trad powerhouse RURA and newcomers Astro Bloc who played to a lively crowd on opening night at Potterrow; The Complete Recordings of Hezekiah Procter – a live vaudeville act, featuring old-time music performed on fiddles, banjos and sousaphone; Isla Ratcliff’s Scottish trad reinterpretation of Vivaldi’s The Four Seasons; and award-winning folk singer Fiona Hunter taming toddlers with her interactive music session for under 5s and above.

Further afield, the hugely successful Folk Film Gathering supported by Screen Scotland, drew in the crowds with its popular programme of Scottish and international films, many accompanied by live scores or introductory talks.

In particular, the launch of Faodail | Found Outer Hebrides Film Archive website which featured live music from acclaimed accordionist and composer Pàdruig Morrison with fiddler and Gaelic singer Claire Frances MacNeil; the world premiere of a new documentary exploring the life and work of tradition bearer Jimmy Hutchison; Celtic Utopia which celebrates Ireland’s current folk renaissance and features many bold, funny, and politically outspoken young Irish folk musicians including Lankum and The Mary Wallopers; the UK premiere of Italian documentary Canone Effimero which showcases the raw energy and some of the vibrant folk traditions of Italy; and a curated selection of early, rarely-seen silent films by Scottish legendary film maker Bill Douglas.

Over at the Scottish Storytelling Centre, crowds gathered on Living Heritage Discovery Day to hear Ireland’s folklore aficionado Michael Fortune talk about Intangible Cultural Heritage and tradition-bearing.

Plus, throughout the festival, the Centre’s popular ‘What is…’ series of talks explaining what makes traditional dance, music,crafts, Gaelic, and Scots, truly traditional, drew audiences from all over, keen to hear from the experts about what makes each artform unique.

Lauren Paterson, Head of Programming at the Scottish Storytelling Centre said: “During the year of the Scottish Storytelling Centre’s 20th birthday, it’s been a joy to welcome audiences, performers and tradition-bearers alike to celebrate the richness, liveliness and variety of Scotland’s living heritage as part of Edinburgh Tradfest.

“From hands-on Come and Try sessions and workshops to explorations of traditional culture and identity through conversation and performance, it’s been inspiring to see so many people engaging with traditions and making connections with their own experience.”

Douglas Robertson and Jane-Ann Purdy, co-producers of Edinburgh Tradfest said: “We are delighted and encouraged with how Edinburgh Tradfest went this year. To have audiences up by 9% is a real achievement especially in tough economic times.

“We are also extremely happy to see the numbers rising amongst the younger age groups. One of the many highlights for 2026 was the move into other areas of the city with some entertaining (and free) pop up performances.

“We hit Broxburn, Turnhouse and Leith this year, and are already planning to pop up in some other unusual locations for 2027.”

Edinburgh Tradfest will return from 30 April to 10 May 2027.

www.edinburghtradfest.com

Tim Minchin backs new Gilded Balloon fund to support next generation of Fringe artists

SHOW SUPPORT FUND LAUNCHED

Gilded Balloon today announces the launch of its Show Support Fund, a new initiative designed to help artists overcome the growing financial barriers of bringing work to the Edinburgh Festival Fringe.

Delivered by Gilded Balloon Futures Ltd, the organisation’s registered charity, the fund marks a significant step in expanding Gilded Balloon’s long-standing commitment to artist development. Gilded Balloon Futures was originally established following the Cowgate fire and relaunched at the end of 2025 as part of Gilded Balloon’s 40th anniversary, with a renewed focus on supporting artists and sustaining the future of the Fringe.

At its core, the Show Support Fund will raise commercial, public and charitable donations to directly support artists in Gilded Balloon’s annual Fringe programme. With the cost of participating in the Fringe continuing to rise, the fund aims to ensure that more artists, particularly those with distinct voices and limited financial means, can bring their work to Edinburgh.

The fund is designed to be flexible and collaborative, allowing donors to support the kinds of artists and projects they are most passionate about, while Gilded Balloon identifies productions that would most benefit from additional backing. Funding may contribute to a wide range of artist’s needs, including marketing, rehearsal space, creative support, travel, accommodation and wellbeing.

Alongside the Show Support Fund, Gilded Balloon Futures will also support the So You Think You’re Funny? Artist Development Programme, helping to cover the costs of the competition and providing vital opportunities for emerging comedians. This includes financial assistance for travel and accommodation for selected performers, removing one of the biggest barriers to accessing the fringe.

In its inaugural year, the Show Support Fund has been kickstarted by a generous contribution from globally acclaimed comedian, writer and composer Tim Minchin alongside his wife Sarah Minchin, their donation will support five shows selected by Gilded Balloon Artistic Directors Karen Koren and Katy Koren, focusing on solo performers with bold voices and sharing personal stories across comedy and theatre.

Tim Minchin who first found major success at Gilded Balloon at the Edinburgh Fringe in 2005 has particular interest in supporting artists who have struggled with mental health issues who may require additional support to make the Fringe achievable with their work.

In 2026, a total of £10,000 has been raised for the Show Support Fund which will be split between five supported artists as follows:

● Jamie Kilstein: Can’t Tie Knots

● Madeleine Brettingham: Legend

● Lois-Amber Toole: SLAY

● Alan Jay: Hell Hath No Humour Like A Gayboy Scorned

● Kathleen Hughes: Twig

These productions represent a mix of emerging and established voices, each facing unique challenges in bringing their work to the Fringe, from international travel costs to personal circumstances and the realities of early-career development.

Support from the fund will directly impact these artists’ ability to present their work, whether through financial relief, creative resources, or practical adjustments that make participation possible.

Karen and Katy Koren, Artistic Directors of the Gilded Balloon said: ““For over 40 years, Gilded Balloon has been a home for artists at every stage of their careers, from first-timers to global stars. But the reality now is that the financial barriers to getting to the Fringe are higher than ever.

“We are delighted to finally launch this fund which has been a long time coming and is about protecting what makes the Fringe special, taking risks on new voices and giving artists the chance to be seen – something we’ve always prioritised at Gilded Balloon. We want to work with supporters who believe in that mission and help us keep those doors open.

“Every year we meet extraordinary artists with urgent, exciting work who simply can’t afford to bring their work to the Fringe. The Show Support Fund and the So You Think You’re Funny? Artist Development programme – both delivered by Gilded Balloon Futures – allow us to raise funds for where it matters most.

“Whether that’s helping artists to cover travel or accommodation costs, giving artists proper time and space to develop their work, or supporting their wellbeing during what can be an incredibly intense month.

“It’s practical, targeted support that can genuinely change the trajectory of someone’s career and we are eternally grateful to our pal, Tim Minchin, for being the first to support the Show Support Fund.”

Tim Minchin said: “Late one night in March, 21 years ago, a furiously passionate woman with a strong Scottish accent called me up and demanded I go to the Gilded Balloon.

“I didn’t know what the fuck a Gilded Balloon was, and I was deeply cautious, because I’d spent ten years grafting away, and didn’t really believe in big breaks. But a big break is exactly what that phone call was.

“Karen Koren – and now her daughter Katy – have remained loyal friends and passionate supporters for two decades, and it’s a huge privilege to be able to support them a bit as they head into their 41st Fringe.”

A CALL TO THE INDUSTRY

Gilded Balloon hopes that the Minchins’ contribution will inspire others, particularly alumni, industry partners and Fringe supporters, to invest in the next generation of performers.

As one of the Fringe’s longest-running venues, Gilded Balloon has played a pivotal role in launching the careers of countless comedians and theatre-makers. The Show Support Fund represents a new chapter in that legacy, ensuring that talent, not financial means, remains the driving force behind who gets to take part.

By contributing to the fund, supporters will play a direct role in shaping the future of the Fringe, enabling more artists to take risks, share their stories, and reach new audiences on one of the world’s most important cultural stages.

For more details and how to contribute visit:

https://gildedballoon.co.uk/contact/support-us/

Grand Départ GB launches call for Tour de France volunteers in Edinburgh

The nationwide search is on to find 9,000 volunteers across the country who will be at the heart of the historic Tour de France Grand Départs in summer 2027.

Officially known as JOY Makers, named in line with the Grand Départs’ social impact programme, volunteers will be the heartbeat of both races, bringing the joy of cycling to fans and communities throughout the six stages, and helping to ensure the sport’s most iconic races runs seamlessly.

You can apply now to be a JOY Maker for any of the six stages of the 2027 Grand Départs via www.letourgb.com/volunteer with registrations open from Wednesday 27 May until Tuesday 1 September 2026.

Anyone aged 16 and over is encouraged to apply to be a JOY Maker, with no prior volunteering experience needed to share in this once-in-a-lifetime experience – playing a part in what is set to be Britain’s most-attended sporting event, whilst making lasting memories and developing new skills.

A range of roles to support event operations and enhance spectator experience are available on both the Tour de France and Tour de France Femmes avec Zwift, with full training provided.

To mark the opening of applications and launch the programme, TV presenter and broadcaster Radzi Chinyanganya joined a group of current volunteers getting behind the Grand Départs.

Radzi Chinyanganya said: “I wouldn’t be where I am today if I wasn’t a volunteer when I was in my teens. I was a media volunteer and now I’m working in media – I’m living proof that volunteering can lead to something amazing. I’m so excited for everyone to get involved – it will truly be an unforgettable experience.

“Knowing what you want to do when you’re young can be intimidating and it’s also unprecedently hard to get work experience at the moment. Applying to be a JOY Maker can help you explore new opportunities and navigate your career path, all whilst being part of making history.

“Whoever you are, whatever your age or your background – JOY Makers is open to everyone – if you want to bring joy, we want you.”

The JOY Makers programme is designed to be accessible to all, from those with experience volunteering at major events and British Cycling activities to first-time volunteers, in particular from underrepresented groups in volunteering, including 16–25-year-olds.

Those aged 18 to 25 years old will be eligible to join the Readiness to Work scheme, that will be launched as part of the JOY social impact programme. The scheme will provide a comprehensive package of employability skills training and career-focused mentoring across multiple sectors. Coupling this with the volunteering experience will provide young people with a well-rounded and practical work experience offer.

Together, the volunteer programme and Readiness to Work scheme aim to leave behind a passionate and skilled collective of volunteers, creating a lasting legacy for the Grand Départs in communities across the country. In addition to this legacy, British Cycling – supported by partners across the three nations – is urging government to commit £30million critical capital investment to deliver a range of new and upgraded cycling facilities across Britain, reaching underserved communities.

Culture and Communities Convener Margaret Graham said: “The Tour de France Grand Départ is a landmark moment for Edinburgh and a chance to share the beauty of our city with millions of people across the world.

“Beyond the excitement of the race itself, the event will bring lasting benefits by supporting local businesses, improving health and wellbeing, and helping strengthen our commitment to active travel.

“We know how valuable volunteering is to make sure major events and festivals run safely and smoothly, as they have done so often here in Edinburgh, but also how rewarding it is for the volunteers themselves.

“I’d urge anyone interested to get involved and apply – and to play a part in this incredible occasion.”

Commenting on the launch of the application portal, Tracy Power, on behalf of JOY, the Grand Départ GB 2027 social impact programme, said: “This is a truly unique volunteering offer and a once-in-a-lifetime opportunity to feel the buzz of being a part of a history-making event, while meeting new people and celebrating your local community.

“The JOY Makers programme will create a core of engaged volunteers across Britain, who are willing to show up and get stuck in, dedicating their time to bring local events and activities to life. This will not only benefit the cycling community but also help our local communities to thrive and bolster employability.

“Whether you have volunteered before, are a regular on a bike or are completely new to volunteering and the world of cycling, everyone is welcome as a JOY Maker. We can’t wait to have you join the team, help us celebrate the joy of cycling and showcase your communities through the Grand Départs.”

To stay up to date with the 2027 Grand Départs and find out more about all six stages, visit letourgb.com

Pedal on Parliament: Campaign for cycle-safe Scotland invites cycle users and politicians on mass ride to Holyrood

SATURDAY 30th MAY

Holyrood will see a mass gathering of citizens on bicycles, tandems, hand-cycles, cargo bikes, recumbent cycles and trikes, riding a closed route from the Meadows to the Scottish Parliament calling for a cycle-safe Scotland.

Riders will join the mass demonstration from ‘feeder rides’ leading in from all over the city, with many supporters coming in from across the country by train and bus with their cycles in tow.

Returning for its fourteenth action since its inception in 2012, Pedal on Parliament has consistently called for safer conditions for walking and cycling in Scotland through mass rides in Edinburgh and beyond, demonstrating the demand and scale of support for everyday cycling.

Their renewed manifesto for 2026 calls for a wide range of interventions for cycling and road safety, ranging from adequate funding allocation and building on the successes of protected infrastructure already built, to calls for greater enforcement powers for police to tackle unsafe driving, and presumed liability for motorists in the event of collisions.

Alex Robertson, Pedal on Parliament co-organiser, said: “Cycling for everyday journeys can be an accessible and healthy option for folks young and old alike, provided action is taken on adequate funding, protected infrastructure and addressing road dangers.

“More people choosing to travel by cycle provides all manner of benefits: for mental and physical wellbeing, taking pressure off our health service; enabling quicker and more enjoyable commutes; but also in reducing congestion, wear on our roads and air pollution along the way.

“We know from the Scottish Walking and Cycling Index that many people would like to cycle more, but nearly half of those surveyed didn’t believe their local area was safe enough. And in the countries and cities where these matters are addressed, real economic and social benefits are being realised that Scotland is currently missing out on. We think everyone should have a real choice in how they travel.”

The ride will end outside the Scottish Parliament with a gathering on the grass to hear speeches from MSPs and organisers, along with the departure of other cycle rides and a fundraising bake sale.

To learn more about Pedal on Parliament, visit pedalonparliament.org

New pathway set to reshape future of spa talent in Edinburgh

A NEW partnership between leading beauty education provider The Academy Glasgow and One Spa at Sheraton Grand Hotel & Spa Edinburgh is set to create a fresh pathway into the wellness industry, helping tackle therapist shortages while developing the next generation of spa professionals.

The initiative will see aspiring therapists undertake a structured scholarship-style training programme delivered by The Academy Glasgow, combining recognised qualifications with practical, hands-on experience within the live spa environment at One Spa.

Designed to support people entering the profession from a range of backgrounds, the programme blends classroom learning, practical assessments and workplace immersion to provide trainees with the skills, confidence and commercial understanding needed to build lasting careers in spa and wellness.

Fiona Young, Spa Director at One Spa, said: “This is about building careers, not filling vacancies. By combining high-quality education with genuine hands-on experience in a real spa environment, we’re creating a more modern pathway into the profession.

“Traditional three-year routes are not always realistic for everyone, but at the same time, one-day courses are not the answer either. Delivering treatments professionally requires far more than simply learning techniques, therapists need a proper understanding of anatomy and physiology, health and safety, client care and the guest experience.

“Partnering with The Academy Glasgow allows us to create a genuine pathway into the profession, giving people the highest standard of training alongside real-world experience from day one.”

Through the programme, trainees will work towards a globally recognised CIBTAC qualification in massage and facial therapy, delivered by The Academy Glasgow, while employed by Sheraton Grand Hotel & Spa Edinburgh throughout the process.

Founded as one of Scotland’s leading specialist training providers in beauty and wellness education, The Academy Glasgow is known for delivering industry-recognised qualifications and preparing students for successful careers across the spa and aesthetics sectors.

The Academy’s practical-led teaching model ensures trainees graduate with both the technical expertise and professional standards expected by premium wellness employer like the Sheraton.

Jenny Storey, Director of The Academy said: “We are absolutely delighted to welcome One Spa at Sheraton Grand Hotel as one of our new spa partners and incredibly grateful that such a prestigious spa has placed their trust in our Spa Therapist Traineeship programme.

Over the years, we have built multiple successful spa partnerships and have remained committed to delivering highly skilled, professional therapists who are truly prepared for the industry.

At the heart of everything we do is a genuine passion for raising standards within the spa and wellness sector. We care deeply about setting our learners up for long-term success, not only by developing their technical ability, but by inspiring confidence, professionalism, and a true passion for the industry.

By training our learners through globally recognised CIBTAC qualifications, we are able to give aspiring therapists the strongest possible foundation at the very beginning of their careers. We are excited to work alongside One Spa to help shape the next generation of exceptional spa professionals.”

Among the first to join the programme are Gaia and Poppie, two aspiring therapists entering the profession from very different backgrounds.

Originally from Milan, Gaia previously worked in marketing and has long held an interest in wellness, having grown up around alternative therapies through her mother’s work as an Ayurvedic therapist.

She said: “Wellness has always been something I’ve been passionate about, so having the chance to turn that into a career in such a supportive environment is incredibly exciting.

“It feels like the perfect opportunity to build something long term.”

Poppie, who has worked across a variety of hospitality roles, previously completed massage training through evening classes before deciding to pursue spa therapy professionally.

She said: “I always knew I enjoyed this kind of work, but I wanted the opportunity to explore it properly and develop real expertise.

“This gives me the chance to learn in a hands-on environment while building towards a genuine career.”

Alongside formal teaching at The Academy Glasgow, trainees will receive mentorship from senior One Spa therapists and gain exposure to every aspect of spa operations, including guest journeys, reception and behind-the-scenes service delivery.

This holistic training approach is designed to create well-rounded professionals equipped for long-term success within the sector.

Fiona added: “What sets this apart is the depth of experience. This is not simply a qualification — it’s a full introduction to the profession, delivered through expert education and immersive workplace learning.

“We want people to leave this programme feeling confident, capable and proud of the standards they’ve been trained to uphold.”

As demand for premium wellness experiences continues to grow, partnerships between education providers and employers are expected to play an increasingly important role in strengthening the future workforce of the spa industry.

Located in the shadow of Edinburgh Castle, Sheraton Grand Hotel & Spa Edinburgh blends contemporary Scottish style with five-star hospitality, while One Spa remains one of Scotland’s leading luxury wellness destinations.

Creative Connections Schools Exhibition at Fruitmarket, Edinburgh

Fruitmarket opens an exhibition championing the creativity of Edinburgh primary school pupils

Fruitmarket’s Creative Connections exhibition marks the culmination of a pioneering three-year programme that places artists in schools to embed creative learning in the classroom. This year’s Creative Connections exhibition will be open to the public on 29.05.26–31.05.26 from 11am–6pm at Fruitmarket, Edinburgh.

The exhibition features artwork inspired by Fruitmarket’s programme, created by Primary 5–7 pupils across six primary schools in South Edinburgh: Craigour Park, Gracemount, Gilmerton, Liberton, Prestonfield and St Catherine’s R.C. Primary.

Since 2023, Fruitmarket has worked in close partnership with classes across the six primary schools in South Edinburgh. The schools have been paired with practising visual artists who have been in residence at the schools, working with pupils on creative projects supported by regular visits to the gallery.

The six artists are Alice Dansey-Wright, Coral Brookes, Georgie Fay, Greer Pester, Kate Temple and Lorna Gallagher. Through regular professional development sessions, Lead Artist Louise Fraser has supported teachers to develop new skills and the confidence to embed arts pedagogy in the classroom across the three years.

Creative Connections was created by Fruitmarket, in close collaboration with participating schools, in response to a demand for creative provision in Primary schools and a focus on pupil wellbeing and confidence following the Covid-19 Pandemic. The project was made possible at this scale and depth through a multi-year grant from Paul Hamlyn Foundation and now has set a benchmark for educational visual arts programmes in Scotland.

Over three years, 757 pupils aged 8 – 11, 23 classroom teachers and six headteachers have participated.

Artists worked with the same classes across the academic year, providing consistent mentoring for pupils and ongoing support for classroom teachers. At the end of each year, pupils showcased their work in a public exhibition celebrating achievement and strengthening connections between schools, families and the gallery.

This year’s cohort has drawn inspiration from recent Fruitmarket exhibitions including What Is Us and What Is Earth, by Glasgow-based artist Ilana Halperin and Wilding, by the Indigenous American artist Jaune Quick-to-See Smith.

One Headteacher said: “I think what’s really made the difference in this project is the fact that we have had the opportunity to work over a number of years. It is not unusual for us to be able to have a project that comes in for a term or a couple of lessons and children enjoy it and they go away afterwards, but it’s that sustainable impact that we don’t necessarily see to the same degree.

“The chance to build up a relationship with an actual artist, to build up a relationship with a gallery has a huge impact for the staff, for the school, also for the children as well, who really, I think, feel that the Fruitmarket is their gallery because of this extended time they’ve had together.

“That depth of the project has been something I’ve not actually seen that before in a project I’ve worked with in my 30 years in education.”

Fiona Bradley, Fruitmarket Director, said: “Over the course of three years, though our ongoing project evaluation, we have seen how working closely with artists in the inclusive context of contemporary art spaces –where there are no right or wrong answers – can help both pupils and teachers express themselves and grow in confidence.

“The annual exhibitions of pupils’ and teachers’ work at Fruitmarket are something we look forward to every year and give our audiences the opportunity to share in a moment of pride with pupils, teachers and families.

“We are very proud that the project has become so valued by the schools, and we have committed to continue to deliver the programme in the new school year in a sustainable form. We are actively fundraising for the continuation of the project and we are very grateful to the funders who are already help make this possible.”

Kevina Khan, Grants Manager, Paul Hamlyn Foundation, said: “Creative Connections shows the incredible things that can happen when artists, teachers and pupils collaborate.

“Through the programme, artists-in-residence and teachers have been building meaningful relationships and finding ways to bring the expressive arts into the curriculum for excellence.

“The impact on children’s educational outcomes, confidence, wellbeing and engagement is powerful.

“The professional learning element of the programme means that these creative approaches to teaching and learning will have a lasting legacy.”

Creative Connections Schools Exhibition

29.05.26–31.05.26, 11am–6pm daily.

Fruitmarket, 45 Market Street, Edinburgh, EH1 1DF