Your Song, Channel 4, Sunday, Alison Rowat, Four stars
As the final of Channel 4’s singing competition approached, nerves were kicking in.
“I’m hoping that they don’t say that I’m completely mince,” said Findlay Williamson, soon to be Scotland’s man on the stage at the Hackney Empire. A fellow contestant was visibly shaking with nerves, while it was touch and go whether another’s voice would make it through rehearsals. Welcome, then, to show business in 2026.
From the makers of The Piano, Your Song has not had quite the same immediate impact. Partly because there are only so many times you can spring a “Susan Boyle moment” and astound viewers with someone’s hitherto unknown talent. The closest The Piano has come is Lucy Illingworth from the first series.
Still, this Alison Hammond-hosted show has had its moments, many of them supplied by Williamson, who has been reprising Paolo Nutini’s Candy, the song he played at his mother’s funeral. The family had previously lost their father to cancer.
Tonight was a chance to try some last-minute ideas, which in Findlay’s case meant losing his acoustic guitar for part of the song. Seemed like a gamble to me, but Ryder thought it would put the emphasis where it belonged, on the 23-year-old’s voice. Besides, said Ryder, “If it’s good enough for Springsteen, mate.”
“The vital thing is that we put emotion into the voice,” said Ryder. “He will be unstoppable with that.”
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Williamson was accompanied to the initial Edinburgh audition by sisters Gabby and Poppy. As with the other contestants, friends and family will be there on the big night at the Hackney Empire.
Although the final airs next week, the five contestants - including wild card Elliot, brought back by the judges from the first episode in Liverpool - had another three weeks to wait till curtain up. “I think I’ve got more in me,” said Williamson. “With it being a rehearsal, I’m probably holding back a wee bit, but I know what I need to do.”
There has been no official word about a second series for Your Song. One of the strengths of the series has been Hammond’s hosting. Able to forge an easy connection with performers and audiences alike, she has brought to Your Song what Claudia Winkleman did to The Piano. There’s warmth without being too cheesy, and humour to ease the contestants’ nerves.
As with Winkleman, however, the Great British Bake-Off and For the Love of Dogs presenter is in high demand, particularly with the Strictly vacancy still open and the Name That Tune reboot coming up for ITV. Whatever happens at Hackney Empire for the five hopefuls, Hammond’s audition days are over.
Believe Me, STV, Sunday, four stars
Believe me, if you like to ease yourself into the new week with something soothing, Jeff Pope’s drama is not for you. There is nothing wrong with it - indeed, they are probably engraving the Baftas as I write - but be warned that you will be thrown from shock and disbelief to stone-cold fury at regular intervals.
This four-parter is based on the true story of the London black cab rapist John Worboys. The story does not start with him, however. The focus, rightly, is on the victims, with Worboy (played by Daniel Mays) barely seen in the first episode. Instead, we begin in 2003 with Sarah (Aimee-Ffion Edwards) as she goes off on a night out. Get a cab home, says her partner, a black cab. All the women portrayed here knew about the dangers of unlicensed taxis and thought they were safer in a black cab.
Sarah wakes in the hospital, knowing something happened after she got into Worboy’s cab. But now she finds herself having to convince others, chiefly the police. She is asked in interviews about her lifestyle, whether she was drunk, and so on. For anyone who thought such approaches and attitudes went out the door after the 1982 BBC documentary A Complaint of Rape, it is shocking, then enraging, to see how she is treated.
As Pope makes clear in this and two other cases, it is not just the police who are sceptical - it is partners, friends, families, and ultimately us, the viewers. Add police incompetence into the mix, and it becomes clear how Worboys was able to continue offending for so long.
Outstanding performances from Edwards (Slow Horses), Aasiya Shah (Bloods), and Miriam Petche (Industry), and full credit to Daniel Mays for making such a monster all too believable.
Episode two airs tomorrow or watch the full series on STV Player from tonight.
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