Just For One Day – A West End Musical with Global Echoes

After a late-night debrief of the PULP gig over pizza and post-midnight beers, we took the morning slow. A late breakfast set us up nicely before we tubed it to Camden for a leisurely walk through one of our favourite London neighbourhoods. We climbed Primrose Hill, took in the views, and then turned our focus westward—for a day that would shift gears from the laid-back to the legendary.

A quick pitstop at McDonald’s for a cold shake preceded our visit to Denmark Street. For many, it’s just another street near Tottenham Court Road. For us, it’s musical holy ground. Known as Britain’s Tin Pan Alley, it’s been a creative hub for artists like Elton John, The Who, and The Sex Pistols. It’s also the original home of Forbidden Planet, the iconic sci-fi bookstore, and in more recent pop culture, it houses the fictional offices of Cormoran Strike from the J.K. Rowling penned novels (as Robert Galbraith).

Then it was time to head to the Shaftesbury Theatre, where we settled in for Just For One Day, the high-profile musical inspired by the creation and impact of Live Aid. With soft refreshments in hand, we took our seats for what promised to be a nostalgia-soaked yet socially charged experience.

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Storyline: Weaving Fiction Around Fact

The structure of Just For One Day blends documented history with fictional character arcs, allowing the audience to experience Live Aid through multiple lenses—organisers, fans, workers on the ground, and a new generation trying to make sense of it all.

The Character Roster:

• Bob Geldof – Musician turned activist, driven to fight famine in Ethiopia.
• Midge Ure – Geldof’s co-conspirator in both Band Aid and Live Aid.
• Marsha – Producer of the Band Aid single and a key Live Aid organiser.
• John Kennedy – Entertainment lawyer instrumental in legal and logistical organisation.
• Harvey Goldsmith – Veteran concert promoter, balancing chaos and control.
• Jim – Sound technician working behind the scenes at Wembley.
• Margaret Thatcher – Then-Prime Minister, a looming political presence.
• Amara – Ethiopian aid worker, grounding the story with human urgency.
• Suzanne (1985) – Young superfan attending Live Aid.
• Suzanne (2025) – Her older self, reflecting and narrating.
• Tim – Suzanne’s friend, another fan swept up in the moment.
• Jemma – A modern Gen Z student discovering Live Aid’s legacy in the classroom.

The interplay between 1985 and 2025 is handled with clarity and emotional weight. Suzanne’s older self, acts as a guide, while Jemma offers a fresh perspective that challenges the “job well done” narrative with the question: Did we really fix anything, or just feel good trying?

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The Songs: A Playlist of Power and Purpose

This is a jukebox musical, but not a lazy one. Each track is integrated with thematic purpose, and the arrangements—while faithful—are tailored to support character development or plot momentum.

Act I Highlights:

• “Heroes” – Opens the show with full-cast gravitas. Perfect choice.
• “Rat Trap” – Geldof and company inject it with rebellious urgency.
• “Drive” – A moving solo by Amara, bringing real-world consequence to the fore.
• “Dancing with Tears in My Eyes” – Midge’s moment of introspection.
• “Everytime You Go Away / True / Every Breath You Take” – An atmospheric mash-up from the backstage team (Midge, Jim, Marsha).
• “Do They Know It’s Christmas?” – Delivered with reverence and reimagined poignancy.
• “Radio Ga Ga” – Crowd energy cranks up.
• “We Are the Champions” – A triumphant moment for Suzanne (1985).
• “Stop Your Sobbing” – Thatcher’s sardonic solo adds dramatic bite.
• “You’re the Best Thing” – A brief but heartfelt interlude.
• “I’m Still Standing” – Surprisingly assigned to Margaret and Bob, showing resilience in different forms.
• “We Are the World” – Ensemble-driven and idealistic.
• “Bad” and “Message in a Bottle” – Close Act I with raw energy and a plea for connection.

Act II Highlights:

• “Pinball Wizard” – Harvey brings this to life with flair.
• “Dancing in the Street” – Marsha and Jim turn it into a vibrant production number.
• “Summer of ’69” – Crowd-pleaser, straight down the line.
• “Blowin’ in the Wind” – A stripped-down, soul-searching piece for Amara (possibly my favourite number of the show).
• “Reach Out and Touch” – Thatcher’s return, ironically pitched as compassionate.
• “In the Air Tonight / Why Can’t We Live Together” – A haunting medley that lands well.
• “We Will Rock You / King of Rock” – John Kennedy’s legal wrangling goes full rock opera.
• “Rockin’ All Over the World” – Harvey’s reprise of pure celebratory energy.
• “Vienna” – Midge gets another moment, this time sombre and reflective.
• “I Don’t Like Mondays” – Geldof delivers this with world-weary poignancy.
• “All You Need Is Love” – Sentimental, but effective.
• “Against All Odds” – John shows vulnerability under the business persona.
• “Rebel Rebel / Don’t You (Forget About Me) / Into the Groove” – 80s glory hits overload.
• “Bohemian Rhapsody” – Absolutely barnstorming. The show’s sonic centerpiece. Had potential to bomb. It didn’t.
• “My Generation” – Jemma and the ensemble reclaim the narrative for the future.
• “Let It Be / Tears Are Not Enough” – A hopeful, almost hymn-like finale.

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Final Thoughts: Loud, Proud, Not Without Flaws

Just For One Day doesn’t aim to be subtle. It wears its heart, politics, and nostalgia on its sleeve. And while it occasionally tips into sentimentality or sanitisation, it does so with intent. This isn’t a gritty exposé; it’s a musical with purpose, pulse, and plenty of power chords.

The use of dual timelines works well to connect generations. While the plot sometimes rushes character development (especially Thatcher’s arc, which feels oddly redemptive), the overall effect is emotionally satisfying. There’s a clear message: music still matters, and the echo of Live Aid can—and should—resonate in the way we face today’s crises.