Lizzie Ball and James Pearson
A weekly classical series at Ronnie Scott’s Jazz Club
by Alexa Bouhelier-Ruelle
When Upstairs at Ronnie’s reopens in February 2026, it will do so with a subtle but meaningful shift in tempo. For the first time in its 65-year history, Ronnie Scott’s Jazz Club will host a weekly classical series — every Monday night — curated by violinist, vocalist and producer Lizzie Ball alongside pianist and Ronnie Scott’s Artistic Director James Pearson.
For Ball, the return of classical music to Ronnie’s is both a continuation and an evolution. She first launched Classical Kicks at the club in 2012, when the upstairs venue was still in its previous form. “Classical Kicks was the very first classical night at Ronnie’s, so we had to bring it back, albeit in an evolved form,” she explains. The success of those early nights planted the seed for something more permanent. When the upstairs space was fully refurbished, the idea of a weekly classical programme felt not only possible, but necessary.
That ambition is shared by Pearson, whose role at the club bridges tradition and experimentation. Together, Ball and Pearson approach the series not as a departure from Ronnie Scott’s identity, but as a natural extension of it. Asthey describe it, “a jazz approach to classical music is absolutely what we are doing,” rooted in performances that feel friendly, relaxed and intimate. Whether presenting pure classical repertoire or reimagining works like Rhapsody in Blue, the aim is to inspire and uplift audiences in a setting that feels alive rather than reverential.
“A jazz approach to classical music is absolutely what we are doing.”
At the heart of the program is the newly formed Ronnie Scott’s Classical All Stars, a seven-piece house ensemble inspired by the long-standing jazz All Stars downstairs. Led by Pearson, the group was conceived as a way to build community among musicians and with audiences. Ball explains that the idea was to create “connections and relationships to not only new musical experiences, but also the players themselves,” all of whom are world-class performers. Pearson’s bespoke arrangements allow everything from Beethoven symphonies to cinematic classics to be reimagined for a chamber-sized ensemble, without losing scale or emotional weight.
Alongside the All Stars, the series unfolds across three distinct strands. Classical Kicks returns with its genre-crossing spirit intact, while Close Up Classical offers intimate evenings of music and conversation with actors, composers, and writers. In this strand, guests bring the classical works that have shaped their lives, performed live and interwoven with personal stories — an approach that reflects Ball and Pearson’s shared belief in storytelling as central to music-making.
The defining feature across all three strands is atmosphere. Monday nights at Ronnie’s are designed to feel radically different from traditional classical concerts. “We want both audiences and artists to feel like they can drop their shoulders, breathe, and truly share a cozy, unique atmosphere,” they explain. In the intimacy of the upstairs room, classical music becomes a physical experience — close, immediate, and human.
The newly transformed Upstairs at Ronnie’s makes that closeness possible. With a 140-seat capacity, enhanced acoustics, and no distance between stage and audience, the space encourages deep listening and genuine connection. Add to that the club’s renowned food and drink offering, and each evening becomes a complete experience rather than a formal recital. AsBall notes, it’s an environment designed to feel welcoming rather than intimidating — particularly for those who might not consider themselves classical music regulars.
“I definitely feel the welcoming, beautiful environment, the food and drink on offer and the close-up intimacy of the incredible music and musicians make this the perfect way to introduce classical music to audience members who might otherwise feel alienated,” she says.
The partnership between Ball and Pearson underpins the project’s coherence. Having worked together for almost two decades, they share what Ball describes as “an innate understanding of each other’s creative and musical style.” Pearson sees their collaboration as complementary: Ball brings ideas and artist suggestions, while he focuses on arranging, musical direction, and shaping the finer details of each programme. What unites them is a shared love of joyful music-making and direct communication with audiences.
Looking ahead, both are conscious that the long-term impact of Ronnie Scott’s Classical will reveal itself over time. But their hope is quietly ambitious. “We truly hope this becomes a night people look forward to each week,” they say — a night that feels special, desirable,- and distinct within London’s classical landscape.
Words by Alexa Bouhelier-Ruelle
Photos provided by Ronnie Scott's
