Ludovico Einaudi at the O2 Arena

A recurring presence on the London scene, Ludovico Einaudi knows his audience and how to put on a mesmerising show that never loses its charm. For this 2026 summer tour, he has settled on two dates at the O2 – the first time he has performed in the UK on such a large scale. And while the picturesque setting of his usual home, the Royal Albert Hall, may be absent, the atmospheric lighting and backdrop colours, together with clever and dramatic video projections of the composer’s silhouette and his hands over the piano, come together to support an extraordinary concert.

After a breezy In Memory of a Dream, the light and airy To Be Sun follows, the fluidity of the strings blending with drums and a luminous scene to create a summer atmosphere that gently drifts by. The composer welcomes the concertgoers, introducing the setlist for the night as a mix of various pieces from his repertoire, with “some new sounds and new arrangements”: a compilation of new and old compositions in a refreshed guise, almost reimagined. This is the culmination of years of work, the latest chapter being his collaboration with his son Leo Einaudi – Einaudi Vs Einaudi, their joint album released exactly 12 months ago. The sequence is indeed familiar and highly recognisable, but those more attuned to Einaudi’s work will detect the edits and his attempts at experimenting with new sounds, which result in an original and appealing revisitation of his output – and help explain why this artist remains so strong, so many years later.

He calls his ten-piece ensemble his family. And indeed it feels like that: none of them uses sheet music – this is a group that has been working closely with him; they’re his regulars, not an orchestra pulled together for a one-off.

Fly transitions smoothly into Run, the first dotted with a titillating xylophone, the second anchored by a heavy bass register, drifting on hypnotic low tones. The spacious, cello-led Santiago blends into I Giorni, as rearranged in 2013 with the internationally acclaimed violinist Daniel Hope – whose part, in this case, is played by first violin Federico Mecozzi, a matchless bundle of energy and enthusiasm. Eros features an emphasis on distortion via the keyboard, with the strings pulling towards a deep – almost haunting – texture.

The ensemble leaves, and Einaudi is left alone at the piano for an emotional segment that comprises Una Mattina and Nuvole Bianche, before closing on a stirring dialogue with first cellist Redi Hasa for Maria Callas.

Drums and an expanding horizon return with Pathos, before a challenging version of In Limine, which showcases a genuine artistic search for new sounds, dwindling into a persistent ending, where the artist stands to direct the ensemble through experimental highs and lows. Experience couldn’t be missed from this performance, but interestingly, it is The Tower that rounds out the encore, with pulsating guitar, pinched percussion, resounding drums and a portentous atmosphere.

At the end, guiding the crowd through a differently paced round of applause, Einaudi plays once again on a familiar interaction that warms the heart. As if his beloved melodies weren’t reason enough, his endearing approach seals it.

Cristiana Ferrauti
Photos: Alexander Freidin-Goss

For further information and future events, visit Ludovico Einaudi’s website here.

Watch the video for Pathos here: