Celebrating Sisterhood at the Royal Albert Hall
More than a century ago, the Royal Albert Hall in London became a significant venue for women’s suffrage meetings, a fact highlighted by host Clara Amfo during last night’s concert, Sisters: Annie Lennox and Friends. However, it’s worth noting that the Hall has not always been a champion for women’s rights. Back in April 1913, Emmeline Pankhurst and her colleagues from the Women’s Social and Political Union were banned from the venue after a series of tumultuous events. The struggle for women’s rights has always been fraught with challenges. Nevertheless, the circular architecture of the Hall serves as a fitting backdrop for an event that marks not only Lennox’s first headline concert in six years but also a celebration of The Circle, an organization co-founded by the former Eurythmics member in 2008 to support women and girls combating gender-based violence and economic disparity.
To commemorate this cause and raise funds, Lennox curated this concert in anticipation of International Women’s Day, transforming it into a heartfelt tribute to sisterhood. The evening commenced with a captivating set from Ríoghnach Connolly, the BBC Radio 2 Folk Singer of the Year, whose poignant trio of songs, accompanied by her mellifluous flute-playing, set an emotional tone. The atmosphere shifted dramatically with indie-rock sensation Nadine Shah, who shared her reflections on the privilege of having a stage career as a Muslim woman, resonating deeply with the audience.
Interspersed between these soulful performances, Amfo reminded the crowd of the grim reality that one in three women worldwide experience gender-based violence, with particularly alarming rates in the Democratic Republic of the Congo, Afghanistan, and Sudan. This sobering reminder felt somewhat at odds with Beverley Knight’s exuberant insistence that “despite the madness out there, everything’s gonna be alright” before she launched into her high-energy, R&B-infused pop performance. The juxtaposition of these sentiments created a dissonance that was hard to ignore.
Similarly, acclaimed photographer Misan Harriman, who introduced Lennox’s set, received enthusiastic applause for identifying himself as a “feminist ally.” This reaction prompts a reflection on whether societal expectations of men have truly evolved. While the performers delivered world-class music, the overarching message felt muddled and unclear.
Finding Joy Amidst the Challenges
It’s not that the evening should be steeped in despair. There is much to celebrate within this community of creativity and collaboration, and Lennox deserves commendation for assembling a predominantly female lineup—a rarity that still prevails in 2025. Her hour-long set featured a promenade of greatest hits, including “Dark Road” and iconic Eurythmics tracks like “Love Is a Stranger” and “Missionary Man,” all delivered with a polished flair. The appearance of Irish singer Hozier for a duet on his breakout single “Take Me To Church” felt somewhat unexpected, while Paloma Faith surprised the audience as a guest for the anticipated yet dazzling closer, “Sisters Are Doing It For Themselves.”
This event encapsulated a peculiar paradox: the audience gathered primarily to witness Lennox, while her underlying goal was to raise awareness and funds for her charity. The luxury of immersing oneself in music is a gift not to be taken lightly, yet even such remarkable artists cannot disguise the reality that music alone cannot eradicate the pervasive issues of misogyny. Ultimately, the evening seemed caught in a limbo, struggling to reconcile the urgent need to confront the harsh realities of sexism with the desire to escape into a realm of music and celebration.
