For more than three decades, Jools Holland’s Annual Hootenanny has been a staple of British New Year’s Eve celebrations—a comforting tradition for families, partygoers, and music lovers alike. Yet as 2025 drew to a close, questions swirled about whether the beloved BBC Two show had lost its magic. This year’s edition, broadcast at 11:30pm on December 31, 2025, and available on both BBC Two and iPlayer, showcased a lineup that sparked heated debate among fans and critics, raising fresh doubts about the program’s continued relevance in a rapidly changing musical landscape.
The 2025 Hootenanny featured a roster of both familiar and new faces: legendary Rolling Stones guitarist Ronnie Wood, chart-topping singer Olivia Dean, pop mainstays Lulu and Jessie J, and crowd-pleasers like Craig David, Heather Small, The Kooks, Imelda May, Joe Webb, David Hermlin, and Ruby Turner. According to BBC Studios, the night also included a stirring performance by the Pipes and Drums of the 1st Battalion Scots Guards as the nation counted down to 2026. On paper, that’s a mix designed to please a wide swath of viewers, from nostalgic rock fans to those seeking the latest pop hits.
But for some longtime devotees, the show’s energy felt more recycled than refreshed. Writing for inews, one critic lamented, “This year’s Hootenanny line-up is a bit of a damp squib. There’s Olivia Dean, one of the year’s biggest stars, who would be a spectacular booking if she hadn’t been a guest just two Hootenannys ago. The main act is Ronnie Wood – a legend of course, but not exactly the most exciting performer without his Rolling Stones bandmates.” The rest of the bill—Jessie J, Lulu, Craig David, The Kooks, and Heather Small—was described as “stepping into a time machine,” suggesting a reliance on familiar names rather than fresh talent.
It’s a tough charge to level at a program that, in its heyday, delivered some of the most memorable live performances in British television history. Who could forget Amy Winehouse’s electrifying rendition of “I Heard it Through the Grapevine” alongside Paul Weller, or Kylie Minogue and Paul McCartney teaming up for “Dance Tonight” with Madness’s Suggs on tambourine? Adele’s early-career take on “Chasing Pavements” still circulates online, drawing new fans and nostalgia seekers alike. As the inews reviewer put it, “These were unmissable, one-off performances that millions, including myself, still return to time and time again. It’s hard to imagine doing the same with a collab between Craig David and The Kooks, or Lulu and Jessie J.”
So what changed? Part of the answer may lie in the show’s format. Unlike the spontaneous chaos of a true New Year’s Eve countdown, the Hootenanny is pre-recorded weeks in advance. While this allows for high production values and a polished final product, it also strips away some of the excitement and unpredictability that define the holiday. As the inews writer noted, “New Year’s Eve is all about being in the moment, sharing the countdown and stepping into the New Year together. But knowing the Hootenanny is filmed weeks earlier makes it feel stale and somewhat fake. There’s no edge, no jeopardy. It’s far too polished.”
Despite these criticisms, the 2025 Hootenanny did offer viewers a diverse musical journey. Ronnie Wood marked his 60th year in music with selections from his recent anthology, Fearless. Olivia Dean, fresh off a year of chart success with her second album The Art of Loving, performed both her own hits and a cover of Natalie Cole’s 1975 classic “This Will Be (An Everlasting Love)” with Jools Holland. Lulu paid tribute to David Bowie with “The Man Who Sold The World” and brought the energy with Take That’s “Relight My Fire.” Jessie J delivered “Living My Best Life” from her sixth album and joined Holland for a Frank Sinatra classic. Heather Small revisited her M People anthems “Moving On Up” and “Search for the Hero,” both with Holland’s accompaniment.
The Kooks, meanwhile, balanced nostalgia and novelty by playing tracks from their debut album as well as a new song from their recent release, Never/Know. Imelda May channeled Billie Holiday with “Now or Never,” while Joe Webb and Jools Holland shared a unique piano duet. David Hermlin brought a touch of jazz with his take on Louis Armstrong’s “Jeepers Creepers.” And as the clock struck midnight, the Pipes and Drums of the 1st Battalion Scots Guards signaled the arrival of 2026, providing a stirring, traditional flourish.
Yet, for all its highlights, some viewers were left wanting. The show’s attempt to cater to “everyone from the kids knee-sliding across the kitchen to your 90-year-old grandma” was seen by some as a recipe for blandness. As the inews critic observed, “In attempting to appeal to the masses, it just ends up being bland.” The sense that the Hootenanny can no longer attract the biggest stars or generate genuine excitement has become a recurring theme in recent years, despite the continued popularity of Holland’s other program, Later… with Jools Holland, which remains a showcase for cutting-edge new music.
For those seeking alternatives, the BBC and Channel 4 offered other options: Ronan Keating hosted a party on BBC One at 11:30pm, while Channel 4 aired a special edition of The Last Leg at 9pm. Still, the Hootenanny’s unique blend of musical variety and festive spirit kept many viewers tuned in, even if the show’s best days, in the eyes of some, may be behind it.
So, is it time for the Hootenanny to bow out gracefully, or can it recapture the spark that once made it must-see TV? That’s a question only time—and perhaps a bold new approach to booking and production—can answer. For now, the show remains a comforting, if slightly faded, fixture of the British New Year’s Eve landscape, cherished by tradition but challenged by the demands of a new generation of viewers.
