Many artists proudly boast of having special guests on their tours, but few can introduce one with the grace and humility of Graham Nash. Best known for his pivotal roles in The Hollies and Crosby, Stills & Nash, Nash—who recently broke his kneecap in half—walked carefully yet confidently across the stage to greet the audience at the London Palladium and introduce his venerable friend and guest, Peter Asher.
Asher, famed for his hits with Peter and Gordon and later his success as a manager and producer, opened the evening with a tender folk reinterpretation of the Everly Brothers classic “Crying in the Rain”, written by Carole King. Between songs, Asher shared warm recollections of signing James Taylor to Apple Records in 1967, arranging for King to play piano on Sweet Baby James, and securing her blessing for Taylor to record “You’ve Got a Friend.” His set concluded on a nostalgic high as Nash returned to the stage to join him for Peter and Gordon’s debut hit, “A World Without Love.”
With the crowd already enchanted, Nash launched his own set triumphantly with “Wasted on the Way” from Daylight Again. The atmosphere lifted further with “Marrakesh Express”, prefaced by stories of his travels through Africa and memories of The Hollies’ final 1968 show at the same Palladium. He revisited The Hollies’ hit “Bus Stop,” saluting its songwriter Graham Gouldman, before turning to his Crosby, Stills, Nash & Young era. Though Nash has ruled out future touring with Stephen Stills or Neil Young, he warmly praised Stills as “a deft songwriter” and delivered a rousing rendition of “Love the One You’re With.”
Tributes to absent friends followed with heartfelt recollections of David Crosby, including a moving story of sailing with him for nine weeks. Nash saved some of the most cherished material from Déjà Vu for the finale, but rather than merely lean on nostalgia, he used these moments to deepen the emotional connection. He dedicated “Teach Your Children” to Cass Elliot, recalling how she had performed her final concert at the Palladium, and spoke fondly of Joni Mitchell, whose influence inspired “Our House” and whose brilliance as a songwriter he continues to champion.
Vocally and musically, Nash remains astonishing. His harmonies soared, his playing nimble and expressive. True to form, he wasn’t afraid to mix art with activism — introducing “Military Madness” with pointed political commentary that divided the audience momentarily, prompting Nash to calmly acknowledge their “right to boo.” Six songs later, unity and elation were fully restored, culminating in a communal, euphoric singalong to “Suite: Judy Blue Eyes.”
With the audience clapping and echoing the famous “do-do-dos,” Nash smiled and asked, “Are you still listening?” — a question that hung in the air like a benediction. It was a perfect closing line to a night that proved, beyond any doubt, that Graham Nash’s voice — both musical and moral — still resonates powerfully.
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