The eighth annual Big Brain Tumour Benefit has raised £20,000 for groundbreaking research into new treatments for brain tumours.
Eight acts performed for this year’s benefit: Nish Kumar, Rosie Jones, Rhys James, Larry Dean, Catherine Bohart, Emmanuel Sonubi, Felicity Ward and Justin Moorhouse.
Underbelly announces the 8th Annual Big Brain Tumour Benefit has raised £20,000 for Professor Richard Gilbertson’s lab at The Cancer Research Centre in Cambridge, helping to fund new treatments for the most aggressive forms of brain tumours in children.
This year’s star-studded lineup included performances from Nish Kumar, Rhys James, Rosie Jones, Larry Dean, Catherine Bohart, Emmanuel Sonubi, Felicity Ward and Justin Moorhouse.
Underbelly created the Big Brain Tumour Benefit in 2017 following co-founder Ed Bartlam’s son Alfie being diagnosed with Ependymoma, a rare and aggressive form of brain cancer. Alfie passed away two years later, at the age of seven. 100% of the profits from the Big Brain Tumour Benefit will be donated to Professor Richard Gilbertson’s lab to fund brain cancer research.
Ed Bartlam, Underbelly’s co-founder said: I am so grateful to everyone who attended Underbelly’s 8th annual Big Brain Tumour Benefit last night, and to the fantastic line up of comedians who gave their time and talent to make it such a success.
“It’s incredible that as a community we have raised more than £20,000, with all of the funds going to Professor Richard Gilbertson’s lab and directly funding cutting-edge tumour prevention and treatment.
“The Big Brain Tumour Benefit is always such a special night, and together we can continue to raise vital funds that save lives.”
Professor Richard Gilbertson said: “We are truly excited and humbled by the amazing partnership with Underbelly and Angel Child. Everyday, we work to end the devastation caused to children and their families by brain tumours.
“We will accept nothing less than total eradication of these devastating childhood cancers. Thanks to the support we have already received we are about to take a completely new therapy to the clinic.
“We could not have done this without Underbelly and Angel Child. Together with our collaborators, we have developed a number of other, completely new and kinder treatments, taking us even closer the day when no child will suffer or die from a brain tumour.
Brain tumours are the leading cause of cancer-related deaths in people under 40. They shorten life expectancy by an average of 27 years, the most of any cancer. Despite this, brain tumour research is underfunded compared to many other cancers.
The principal aim of Professor Richard Gilbertson’s Lab is to improve the accuracy of brain tumour classification and treatment, with a particular focus on children’s brain tumours.
Their research involves conducting genomic analyses of brain tumours to identify cancer-causing abnormalities, and using that knowledge to develop effective new cancer cures through clinical trials of molecular targeted therapies.
Underbelly’s Big Brain Tumour Benefit is a one-night-only show. For more information on the wider programme for the remainder of the Edinburgh Festival Fringe, please visit the website here.
Alan Wake, who poignantly tells his personal story of breast cancer in a stand-up comedy show, Manogram – a man with breast cancer, put on an exclusive performance in The Caves, for Edinburgh-based The House of Hope, Scotland’s first bespoke wellbeing centre for people impacted by breast cancer.
Alan’s incredible story is taking the Edinburgh Fringe by storm and explores a man’s experience of mammograms, mastectomies and hormone therapy, in a light hearted one-man show, which celebrates laughter and love through adversity, while raising awareness and funds for breast cancer.
When Alan was diagnosed with breast cancer in 2025, his wife had already been treated for the disease twice, and having to tell their two boys of a third breast cancer diagnosis in the family was unthinkable and according to Alan; ‘somewhat ridiculous.’
The special show received a standing ovation from the House of Hope community and supporters in the audience, when Alan asked the question; ‘Has anyone here been impacted by breast cancer?’
Alan said: “I was blown away by the support shown for the show and the audience unexpectedly taking to their feet was incredible. It was really moving and very powerful to see the whole room unite against breast cancer.”
House of Hope Manager, Hazel McLinden said: “Alan’s show adds a lot of love and light to people going through a breast cancer journey, which is so important.
“We are thrilled that Alan selected The House of Hope as a charity partner and all donations will go towards improving and enhancing the wellbeing services for people impacted by breast cancer in Scotland and their families.”
Alan continues: “The impact breast cancer had on my wife Julie was totally devastating. While I have lost a breast and have a scar, most people wouldn’t realise I’ve been through breast cancer and that’s just not the same for women, who often lose a part of their identity through treatment and surgery.
“While breast cancer is no laughing matter, I wanted to raise awareness through humour, because that’s what I know best and my show gives a totally different perspective by exploring the weird and often humorous ways men support each other through banter and comradery.”
Manogram – a man with breast cancer – will continue to raise funds for breast cancer charities throughout its run at the Edinburgh Fringe, with shows running until 30th August.
For more information about Alan’s story and the important wellbeing services provided by the House of Hope visit houseofhope.org.uk.
A 35-year-old woman from Glenrothes has been sentenced to an order of lifelong restriction and jailed for a minimum of six years for the attempted murder of a child.
Laura Docherty repeatedly administered medication to a child, none of which had been prescribed for them and were not suitable for children. As a result, the child suffered bouts of sickness and was hospitalised on a number of occasions.
These offences occurred over a period of a year from 2022 to 2023.
Concerns were raised by medical staff in February 2023 and an investigation was launched. In May 2023, officers arrested and charged Laura Docherty in connection with attempted murder.
She was found guilty at the High Court in Edinburgh in December, 2025, and sentenced to an order of lifelong restriction with a minimum of six years in prison at the same court today – Monday, 17 August, 2026.
Detective Constable Gemma Warriner said: “This was prolonged and abhorrent abuse of a young child which resulted in numerous stays in hospital. Throughout the investigation, Docherty took no responsibility for her actions and repeatedly blamed others.
“Cases where children are subjected to harm can often be difficult to deal with, however, we are committed to investigating such incidents fully and ensuring those responsible are held accountable.
“I hope today’s sentence brings some comfort to the family.”
If anyone has concerns about the safety or welfare of a child, please contact Police Scotland on 101 or partner agencies. Reporting concerns can help us protect the most vulnerable members of our communities.
theSpaceUK is gearing up for a second week of Fringe, offering a hundred-plus shows ranging from theatre to cabaret to musicals
After an incredible opening week of the Edinburgh Festival Fringe, we are thrilled to be going into week 2. Here’s just a taste of the exciting new shows that you can catch in Week 2 at theSpaceUK …
(theSpace @ on the Mile, 17-29 August) Hot off the tracks from a 5-star debut, this hilarious original musical comedy will take you on the rollercoaster that is love, loss and being a constant disappointment to your parents.
A bold new historical musical set in 1908 Britain, charting the rise of the suffragette movement. This urgent tribute confronts the past to ignite the present.
Delight in all the melodrama we know and love, with some added panto pizzazz. A devious trio of traitors, a Romeo-and-Juliet love story, and a predictable parody (or two); this series will be unlike any other.
Acclaimed New Zealand theatre company’s international premiere of this powerful, original folk musical shedding new light on an ancient tale. Greek myth blended with 1940s Hollywood aesthetic through a groundbreaking live-looping musical landscape.
A sapphic musical following best friends Celine and Margot, who teeter between love and fear. When life, lovers and timing pull them apart, the songs they leave unsung begin to tell the truth.
Join Durham University’s award-winning barbershop choir for an a capella concert full of rich harmony arrangements of your favourite numbers! Featuring musical theatre, jazz, Disney and classic barbershop, there’s something for everyone!
This show mines the depth of human identity while deftly exploring all sides. Who am I kidding? This show is just me proving how Black I am. Because I am so Black.
The University of York Dead Ducks are invited to a remote stately home by a former colleague. As punchlines and bodies pile up, the choice is simple: commit to the bit or die trying.
Merlesque is a tale about a tail. A policy expert uprooted by America’s 2024 presidential election, Merlesque is the true story of how a statistician turned into a birthday party mermaid.
Who was the real Uncle Tom? This new Canadian play dramatises the journey of Josiah Henson from the depths of slavery to the heights of freedom. One actor, 36 characters. No set. No props. Just your imagination.
Through imagined conversations with a therapist, Keir Starmer grapples with the transformation from lawyer to national leader – ‘Oh God, you know I don’t do this self-analysis thing very well.’
Strangers, eight hours, one connection they can’t quite explain. Following two queer women through the only night they’ll spend together, it might mean everything – or nothing at all. Is eight hours long enough to fall in love?
Six employees. One Tuesday in the office. £60,000 stolen. To solve the mystery, the boss asks each of his employees to walk him through their day, resulting in absurd recreations and ridiculous revelations.
A university student poses nude at a life drawing class for all the wrong reasons. A funny, devastating solo play about desire, fantasy and the seductive idea that being seen is the same as being empowered.
Fiadh and Nolan were your normal uni students until one murderous night changes everything. Come join these best friends in hiding as they figure out their next move. Will they betray one another or accept defeat?
Davie, newly released from prison, moves in with his policeman-hopeful brother, Freddie, and his fiancee Laura, an overworked NHS nurse. Past mistakes resurface and clashing beliefs expose deep family fractures in austerity-hit Scotland.
Five internet addicts visit The Retreat in search of an easy life fix, hoping cucumber peels and tst exercises can buy back their happiness and spontaneity. A new satirical comedy about wellness, digital connection, and touching grass.
When a hapless husband accidentally steps on a bee that his wife was saving, it seems their marriage finally hits rock bottom. But when he rescues an injured pigeon, he discovers a way to restore their former passion.
Nocturnal Is The New Sexy follows a couple fractured by NHS night shifts, post-it notes and modern labour, blending ensemble movement and dark humour to expose love, exhaustion and the cost of being seen.
A camp workplace comedy set in a celestial bureaucracy where pop divas are treated as religious figures. Madness ensues when a rogue employee accidentally merges the religions of three modern pop icons.
Calton Hill was busy with visitors and locals gathering to watch the partial solar eclipse. Our free eclipse glasses were snapped up within just 10 minutes, while TV crews were also on hand, including an interview with our President.
Initially, it looked as though the clouds might spoil the show. But they repeatedly parted in the run-up to maximum, giving us a series of fantastic glimpses as the Moon steadily moved across the Sun.
As we approached 91% coverage, the excitement grew. Clouds continued to roll across the sky, but once again they opened up at just the right moments. As maximum eclipse approached, cheers went up from the crowd as the clouds parted, giving everyone a great view of the Sun at its most obscured.
A huge thank you to everyone who came along, to our Astronomical Society of Edinburgh volunteers, and to everyone who helped make the event possible.
The Besties awards celebrating the best across Edinburgh’s August Festivals are now in their third year. The Award is a partnership between Radge Media, Capital Theatres and Premier Scotland.
The Skinny and Fest, Capital Theatres and Premier Scotland are delighted to announce the week one winners of The Besties.
This award was selected by the young people who participated in this year’s Superpower Agency critical writing summer camp, a collaboration with the teams at The Skinny and Fest.
Five women went to teach theatre for the summer. They just didn’t know the world would end before camp did. In Stanislavski Can’t Save Me From The Apocalypse, life at a theatre camp in the northern woods of Maine takes a shocking turn when five counsellors suddenly become responsible for more than forty campers after the world ends on the final day of camp. Their artistic dreams collide with the abrupt demands of survival, forcing women who once built imaginary worlds onstage to confront a terrifying new reality offstage.
The young reviewers said, “We really enjoyed this innovative theatre production, set at a kid’s theatre camp in the aftermath of the apocalypse. This is an ambitious show that takes risks with its unconventional structure and pulls them off. They did a lot with a tiny venue, minimal set and a cast who were passionate and talented. The characters were realistic and the show’s depiction of young adult friendship was funny and relatable. A hopeful and meaningful take on a potentially dark subject.”
Believing themselves to be revolutionary leaders, two overconfident artists attempt to liberate the masses through the power of theatre. Ethan & Gigi are here to upstage fascist pigs and break legs (literally). The revolution will not be televised, it will be live! Alt-comedian legend Chris Gethard says: ‘These kids are funny, brave, some of the hardest workers I’ve ever met and also might be legitimately unwell in a mental sense. Either way, huge fan. Restores my faith and makes me believe in the connective power of comedy.’
The Skinny/Fest editorial team said: “Ethan and Gigi’s commitment to the bit is what makes this faux so-bad-it’s-good comedy stand out from the rest. A pair of revolutionaries riddled with interpersonal issues but convinced they’re on the brink of an anti-fascist revolutionary movement, the New York clown duo never let you see where they start and the characters end. There are big, insane swings in this show that wears its brashness deceptively lightly; swings that you’re only likely to see at The Fringe.”
Two teenagers perform fake Bigfoot sightings in their Appalachian town, until a neighbour’s dog turns up torn to pieces. Aside from sparking a panic that spirals out of their control, it forces them to question what might actually be terrorizing their under-resourced and already superstitious community. From 2022, 2023 and 2024 Fringe First award-winners and ‘the Fringe’s most dynamic theatrical duo’ (Telegraph), Xhloe and Natasha, comes a Brechtian puppet show ripped in two about conspiracy, misdirection and seeing something with your own eyes.
The Skinny/Fest editorial team said: “It may be early in the 2026 Fringe to declare a legend award, but the judging team could think of no title more fitting for clown duo Xhloe and Natasha. Since their 2022 debut with And Then the Rodeo Burned Down they’ve built a devoted following amongst Fringe-goers in general and the Skinny-Fest teams in particular. This year they’ve returned with their fourth original show, Bigfoot Ripped My Dog In Half I Saw It, and it has once again lived up to the hype.”
‘I’m sorry, I’ve said too much…’ Sky Arts Award-winning comedian Elf Lyons is The Woman on the Edge. A completely normal, autobiographical (and in no way complex) – observational stand-up show about love. A perfect show to take yourself to. Inspired by Vertigo, Apollo 13, the opera Pagliacci. Directed by Ingmar Bergman. One of The Telegraph’s 50 Funniest Comedians of the 21st Century.
The Skinny/Fest editorial team said: “The Fringe has practically belonged to Elf Lyons for a while now. Swan was mad; Raven was fit for a King. So to hear, in Elf’s new show, that she had lost herself earlier this year was heart-rending. If someone so singular can lose sight of who they are, what hope is there for the rest of us? By the end of her new hour, there’s no question that that isn’t the case anymore.”
Bzzzz. Enter the surrealist world of a house fly. She’s come to share her story before she dies! In an astonishing historical first, a house fly has learnt human behaviour. Wanting to warn us about the worldwide insect shortage but getting lost along the way. This is Tess O’Shea’s first show after training at Gaulier clown school – it’s a theatrical exploration on the life of a fly and their cultural history. Come and see a fly’s observations on the absurdity of modern life, inspired by Kafka and the surrealism of Dali. Swatters strictly prohibited!
Fest writer Xuanlin Tham said: “the humble fly is often constituted as nothing more than a filthy pest. Yet carrying on in the grand surrealist tradition of Kafka, Dalí, and also Ratatouille (masterpiece), Tess O’Shea’s House Fly paints the life story of one fly so vividly that the last thing you want to do is swat it away … The buzz is real.”
At 17, Eva moved from Livingston to Costa Rica on her own. She dropped out of school and moved to Costa Rica a boy-mad wee bam. She came back a bald lesbian without shoes. A fast, brutally funny debut about how you can take the girl out of Livingston, but maybe Costa Rica is too far. ‘One of the best young acts on the Scottish circuit’ (One4Review.co.uk). ‘A rising star’ (List). Support for Kim Blythe, Sam Nicoresti and Susie McCabe.
The Skinny/Fest editorial team said: “Eva Peroni is anything if not precocious. The 22-year-old’s debut Fringe hour is crammed with joke after joke, drawing on themes of identity and belonging and remaining sharp and uncompromising throughout. Taking inspiration from her coming-of-age in Costa Rica, the comic probes questions of national identity and Scottishness, with tongue firmly in cheek…”
Reflecting the broad and diverse coverage both magazines produce every summer and celebrating the breadth of Edinburgh’s Festivals, The Besties span all the festival activity taking place in the city over the month of August, including the Edinburgh Festival Fringe and Edinburgh International Festival, Edinburgh Art Festival, Edinburgh International Book Festival and the Edinburgh International Film Festival.
Winners of The Besties are chosen each week by the editorial teams of The Skinny and Fest, drawing on their cross-festival expertise to celebrate the best work happening anywhere in the festivals. 2026 winners will be announced at weekly ceremonies taking place at Festival Theatre in Edinburgh on 15, 22 and 29 August.
The Besties awards, designed by artist Camillo Feuchter a graduate of Interior & Environmental Design at Duncan of Jordanstone College of Art and Design in Dundee, use recyclable plastics gathered by the partners and leftover wood sourced locally.
Landmark report evidences the profound impacts of the Edinburgh Festivals, confirming them as one of the most remarkable demonstrations of cultural power in the world
Picture by JANE BARLOW
In the latest of a long line of internationally acclaimed impact studies, the Edinburgh Festivals have published their most recent research across a series of cultural, social and economic indicators – which shows that at a fundamental level the festivals make life better – for residents, artists, visitors, and businesses.
The research identifies the Edinburgh Festivals as a unique civic asset that enhances wellbeing through creative and community engagement, an unrivalled international springboard for Scottish artists and companies, and a major attraction for those choosing to live, work, visit and invest in Edinburgh. The findings clearly indicate that the Festivals define Scotland’s cultural identity on the global stage.
Introducing the latest Impact Study on 29 June, Professor Daisy Fancourt, Director of WHO Collaborating Centre on Arts and Health and UNESCO Chair in Arts & Global Health as well as author of Art Cure: How the Arts Can Transform Your Health and Help You Live Longer said: “The Edinburgh Festivals have long stood as one of the world’s most remarkable demonstrations of the power of arts and culture.
“Shared cultural experiences create opportunities for dialogue, build understanding and challenge ideas. They bring people together across generations, backgrounds and perspectives, helping to build trust and social cohesion. At a time when many communities are grappling with social fragmentation and unrest, cultural participation offers powerful opportunities to strengthen civic life and nurture a sense of common purpose.
“The Festivals show what is possible when culture is placed at the heart of civic life, and this report provides a powerful case for the importance ofsustaining and investing in their future for generations to come.”
The research affirms that while the individual festivals are powerful brands in their respective fields, collectively they are both a unique national asset and a global phenomenon. They are an integral part of the cultural and social fabric of the country and provide an opportunity to showcase a 21st century nation.
The headline findings in this publication show the Edinburgh Festivals as:
cultural adventurers, with 90% of audiences acclaiming the festivals as unique places of cultural discovery
civic drivers, that enhance community well-being with 79% of local audiences stating that the festivals make Edinburgh a special place to live
national investors, spending more than £10m annually with event production companies and creative talent based in Scotland
economic powerhouses, calculated to have a gross economic impact of £4.26 billion over the next five years in Scotland.
Commenting on the publication of the Impact Study, the Scottish Government’s Cabinet Secretary for Education, Culture and Gaelic, Màiri McAllan MSP said: “The Edinburgh Festivals are truly world class — and this research confirms their extraordinary cultural, social and economic value to Scotland.
“A projected national economic impact of £4.26 billion over the coming five years, 90% of audiences describing them as unique places of cultural discovery, and 79% of Edinburgh residents saying they make the city a special place to live — these are remarkable findings.
“As we approach the 80th anniversary of Edinburgh’s status as a festival city, the Scottish Government is proud to champion the festivals and committed to ensuring they continue to thrive for the benefit of people across Scotland and on the global stage.”
Councillor Margaret Graham, Culture and Communities Convener at City of Edinburgh Council, said: “Edinburgh’s festivals are at the heart of what makes our city so special, bringing together residents and visitors to enjoy thousands of shows and events throughout the year.
“This research highlights that these celebrations deliver significant cultural, social, and economic benefits, supporting local communities and businesses while enhancing the city’s global reputation.
“As we approach the 80th anniversary of our festivals, we remain committed to supporting their future while balancing the needs of residents, visitors, and business, ensuring Edinburgh continues to thrive as a world-leading festival city.”
Vicki Miller, Chief Executive of VisitScotland, said: “Edinburgh’s festivals are world renowned, and a key part of what makes Scotland a must-visit destination, drawing thousands of international visitors to the country each year.
FURTHER FINDINGS INCLUDE:
The Edinburgh Festivals have seen a major expansion in their community reach
Alongside its global scale, the report identifies a major expansion in the Festivals’ community footprint. They offer residents of the city and substantial audiences of all ages throughout Scotland, opportunities that support creative expression, social connection and wellbeing, while breaking down barriers, enhancing community cohesion and civic pride.
These core principles were fundamental building blocks of the PlaCE [Partnerships for Creative Excellence] programme, a pioneering three-way partnership between Edinburgh Festivals, Scottish Government and the City of Edinburgh Council. Almost 76,000 community participants took part across the life of the programme.
Over the five years spanning 2018 to 2023, the Festivals delivered a 489% increase in engagement with community groups, a 39% increase in schools participation (from 497 to 694) and a 245% increase in partnership activity.
This growth reflects a significant development of year-round activity and more equitable access, with programmes increasingly reaching communities less likely to have engaged with the Festivals in the past.
The Edinburgh Festivals are a civic asset as well as a global platform
The report reinforces the Festivals’ role within the city itself. Edinburgh residents account for around one third of all attendances, with 79% of local audiences identifying the Festivals as central to the city’s identity and sense of place, making it a special place to live. And 89.9% of audiences say that the Festivals create a welcoming environment in the city.
This dual role – as both a global cultural gathering and a locally rooted civic asset – is identified as a defining feature of the Edinburgh Festivals.
The Edinburgh Festivals are a key investor in Scotland’s creative economy
Beyond audience impact, the Festivals continue to act as a major investor in Scotland’s cultural sector, supporting artists, production companies and creative organisations across the country.
Annual spend with Scottish-based creative talent and production companies exceeds £10 million, helping to sustain jobs, develop skills and build international connections across the sector.
The Edinburgh Festivals provide a platform for Scotland on the world stage
With participants from over 80 countries and audiences from more than 100 countries, the Festivals play a central role in projecting Scotland internationally, showcasing a 21st century nation
The report affirms the Edinburgh Festivals as a globally significant cultural marketplace, while remaining deeply embedded within Scotland’s communities and creative industries. Both a unique national asset, part of the cultural and social fabric of the country, and a global phenomenon making up part of the appeal that will drive Scotland forward.
The Edinburgh Festivals are economic powerhouses
The Edinburgh Festivals delivered an estimated £558 million in net economic impact for Edinburgh and £852 million across Scotland in 2025.
A central finding of the research is that this economic impact is driven by the quality and innovation within the Festivals’ cultural programmes which drive attendances, with 90% of audiences acclaiming the festivals as unique places of cultural discovery
The report concludes that investment in programming is the primary factor that attracts global audiences and generates wider economic activity across tourism, hospitality and the creative industries. With the right investment the future impact is expected to reach £4.26 billion over the next five years.
The findings underline the Festivals’ position as a major national asset, operating at a scale rarely seen in global cultural events. With over 4 million attendances drawn from more than 100 countries last year, Edinburgh hosts one of the largest ticketed event programmes in the world every year, on a scale equivalent with less frequent major events such as the Olympic Games and FIFA World Cup.
Cultural events like these provide authentic and immersive experiences for people across Scotland and from around the world and are vital in strengthening our international profile and supporting local businesses, artists, and performers.”
Lori Anderson, Director of Festivals Edinburgh stated:
‘We are facing challenging times which call for boldness, direction, and vision – and the Edinburgh Festivals, through their pioneering collaborative work, focused strategic thinking, and hugely praised programmes, have these qualities in abundance. They have a powerful role to play in increasing the creative capacity, economic strength, and international reputation of Scotland. Ahead of the 80th anniversary of the birth of our world leading festival city, now is the time to champion and invest in the Festivals’ success.’
Further findings in the Impact Study include:
The Edinburgh Festivals have seen a major expansion in their community reach
Alongside its global scale, the report identifies a major expansion in the Festivals’ community footprint. They offer residents of the city and substantial audiences of all ages throughout Scotland, opportunities that support creative expression, social connection and wellbeing, while breaking down barriers, enhancing community cohesion and civic pride.
These core principles were fundamental building blocks of the PlaCE [Partnerships for Creative Excellence] programme, a pioneering three-way partnership between Edinburgh Festivals, Scottish Government and the City of Edinburgh Council. Almost 76,000 community participants took part across the life of the programme.
Over the five years spanning 2018 to 2023, the Festivals delivered a 489% increase in engagement with community groups, a 39% increase in schools participation (from 497 to 694) anda 245% increase in partnership activity.
This growth reflects a significant development of year-round activity and more equitable access, with programmes increasingly reaching communities less likely to have engaged with the Festivals in the past.
The Edinburgh Festivals are a civic asset as well as a global platform
The report reinforces the Festivals’ role within the city itself. Edinburgh residents account for around one third of all attendances, with 79% of local audiences identifying the Festivals as central to the city’s identity and sense of place, making it a special place to live. And 89.9% of audiences say that the Festivals create a welcoming environment in the city.
This dual role – as both a global cultural gathering and a locally rooted civic asset – is identified as a defining feature of the Edinburgh Festivals.
The Edinburgh Festivals are a key investor in Scotland’s creative economy
Beyond audience impact, the Festivals continue to act as a major investor in Scotland’s cultural sector, supporting artists, production companies and creative organisations across the country.
Annual spend with Scottish-based creative talent and production companies exceeds £10 million, helping to sustain jobs, develop skills and build international connections across the sector.
The Edinburgh Festivals provide a platform for Scotland on the world stage
With participants from over80 countries and audiences from more than 100 countries, the Festivals play a central role in projecting Scotland internationally, showcasing a 21st century nation.
The report affirms the Edinburgh Festivals as a globally significant cultural marketplace, while remaining deeply embedded within Scotland’s communities and creative industries. Both a unique national asset, part of the cultural and social fabric of the country, and a global phenomenon making up part of the appeal that will drive Scotland forward.
The Edinburgh Festivals are economic powerhouses
The Edinburgh Festivals delivered an estimated £558 million in net economic impact for Edinburgh and £852 million across Scotland in 2025.
A central finding of the research is that this economic impact is driven by the quality and innovation within the Festivals’ cultural programmes which drive attendances. 90% of audiences acclaimed the festivals as unique places of cultural discovery.
The report concludes that investment in programming is the primary factor that attracts global audiences and generates wider economic activity across tourism, hospitality and the creative industries. With the right investment the future impact is expected to reach £4.26 billion over the next five years.
The findings underline the Festivals’ position as a major national asset, operating at a scale rarely seen in global cultural events. With over 4 million attendances drawn from more than 100 countries last year, Edinburgh hosts one of the largest ticketed event programmes in the world every year, on a scale equivalent with less frequent major events such as the Olympic Games and FIFA World Cup.
Following his success at the Clacton-on-Sea by-election, Count Binface is to perform at the Edinburgh Festival Fringe for one night only at the Pleasance King Dome on Wednesday 26th August at 16:50.
The universe’s favourite novelty politician returns with COUNT BINFACE: FACE OF THE ESTABLISHMENT, a one-hour dose of political comedy and sci-fi satire.
Galactic phenomenon Count Binface comes back down to Earth for his Edinburgh Festival Fringe appearance. Join Binface for his unique take on Britain, his special brand of sci-fi satire and, of course, his unbeatable manifesto.
Cheaper 99 Flakes? Check. The nationalisation of Adele? Check. The return of Ceefax? Check. Water bosses to take a dip in UK rivers to see how they like it? CHECK! FACE OF THE ESTABLISHMENT brings Binface’s unique dose of political comedy to the Edinburgh Festival Fringe for one night only.
Count Binface is the intergalactic space warrior and novelty politician who has delighted millions with his unlikely tilts at power in the United Kingdom.
After taking on Theresa May in the 2017 General Election, cunningly disguised as ‘Lord Buckethead’, and challenging Boris Johnson in 2019, he ran for Mayor of London in 2021, receiving a glorious 92,896 votes and soaring into ninth place.
He returned to the mayoral race in 2024, winning 24,260 votes, earning the endorsement of a national newspaper and beating Britain First.
Following his success at the Clacton-on-Sea by-election, where he won 9455 votes, Binface now returns to the stage with COUNT BINFACE: FACE OF THE ESTABLISHMENT.
Our water and how to keep it clean, plentiful, and safe has very much been the subject of many news stories, documentaries, and conversations.
From climate change to scarcity and pollution – what plans are in place to secure Scotland’s water future?
You can be part of the discussion on this issue with panellists from University of Dundee the Environmental Rights Centre for Scotland, campaigner Peter Hammond, and Scottish Water.
A memorable eclipse on Calton Hill!
PICTURES: Fantastic images captured by Astronomical Society of Edinburgh members.
Fri 28 Aug – 11:15am