THIS August, more than 800 performers will “gather” at Edinburgh Castle for the 2026 Royal Edinburgh Military Tattoo.
The theme is A Call To Gather, honouring the soldiers who answered the call from around the world during the First World War.
The Narrator – The Call 1914 statue in West Princes Street Gardens – is voiced by Scottish actor Richard Rankin. The creative director, Alan Lane, told me ahead of the show this decision – like many others – are part of his attempt to bring the show into the 21st century.
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“My job is to make a different show every year, so audiences want to come back,” Lane shared.
“Getting that balance right is the hardest part of the job, and the thing I spend the most time thinking about.
“This year, we have tried to enhance the theatricality. We are telling a bigger story. You will see instruments that have never been played there before, technical effects, and Richard Rankin as our narrator.
“It is something different. I think it will feel more like a major piece of theatre, while still retaining all the elements of a Tattoo.”
This was my first time seeing the famous celebration of music, military precision, culture and connection audiences around the globe rave about.
When questions around armed forces, recruitment and service continue to divide public debate and war crimes, civilian suffering and global instability provide grief and unease to the majority of the public – especially younger generations – I asked Lane, what place does it have in 2026?
He pondered it, respecting the question, and said: “The Tattoo has always been built around two things: Military performance and traditional Scottish performance. Both remain an important part of what we do, and we are constantly trying to elevate and enhance them.
“We invest huge amounts of time and money in Shetland fiddle and Highland dancing. We have a world champion Highland dancer, a world champion drum major and world champion pipers.
“So, I would say first of all that it is not a military show; it is a show with military elements. But the more philosophical point in your question is important. Scotland used to be a martial country, in the sense that everyone knew someone in the Army or the Navy. That has changed, and it affects how people relate to it.
“But we know we live in a challenging world. Military leaders are preparing for the possibility of war in Europe. That makes the Tattoo’s role even more important. We need to talk about service, values and standards.
“It is not about preaching or being didactic. The details of marching, uniforms and military tradition may not mean much to every audience member, particularly younger people. But I think the values of service and the standards associated with it are more relevant, and audiences are more connected to them, than ever before.”
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The Tattoo has donated more than £14.5 million to services and arts organisations since it first performed in 1950.
There is no debate that the Tattoo contributes to making people’s lives better through the money it raises. And I really heard his line: “It is not a military show; it is a show with military elements.”
Going into the performance, that was what gave me hope that there would be an awareness to the political climate we are living in as well as showing culture in the way I’ve seen from videos and pictures of previous performances.
We started with the Massed Pipes and Drums made up of those from Vancouver Police Pipes and Drums, the Pipes and Drums of 152 (North Irish) Regiment Logistic Corps and 154 (Scottish) Regiment Royal Logistic Corps, Royal Air Force Pipes and Drums, and the 10th Queen’s Own Gurkha Logistic Regiment Pipes and Drums to name a few.
Later, we’d see Germany, New Zealand, the USA, and Qatar.
Each displayed skill which is unparalleled in a show like this and each and every person on that Esplanade should be proud of their performance and service. But why did we have the cover versions of songs by the likes of the Jackson 5 and Frank Sinatra weaved throughout?
Where in the world would you see New Zealand’s Haka – which got the loudest applause of the night, by the way – followed by Elton John’s Saturday Night's Alright for Fighting, and it seem natural or … good?
And did anyone realise Outlander's theme tune the Skye Boat Song – played five times through the show – tells the story of Bonnie Prince Charlie's evaded capture by government soldiers after his defeat at the Battle of Culloden in 1746? That being played while the Union flag is created out of umbrellas doesn't feel quite right.
Speaking to others after, there was a confusion over what the show’s message was. There was a Scottish segment which featured the best of our pipers, dancers and songs Songs sung by Skerryvore’s and Tidelines’s lead singers, but it lacked authenticity.
Honestly, the whole thing felt like it was a show for our American cousins. The cowboy boots and Stetson hats confirmed that. Increasingly, Edinburgh's festivals seem designed for this one audience. At what cost?
I was disappointed by how it had been suggested the show was doing more in terms of theatre. The visual effects were noteworthy, but I didn’t come for a lights show and karaoke.
Personally, I know the show isn’t for me. I have pride in my own family’s military service – but I, like most of my generation know that conflict and the war is not making the world a better place or achieving peace.
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I believe there is a way the Tattoo can display a pride in service and sacrifice, while also understanding and honouring the fear, grief and anger for others as the world continues to watch civilians suffer and breaches of international law.
It would be difficult, I admit, but if you want a world-class show to survive and thrive with that title and attract new audiences, they can’t strip the show of culture and core, play Outlander’s Skye Boat Song five times and hope the fireworks will distract us.
The show will run from August 7 to 29 at the Edinburgh Castle Arena.
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