Amy Winehouse was celebrated at London’s Roundhouse on October 21, 2026, with a concert marking 20 years of Back to Black. Mark Ronson and Salaam Remi reunited with her original musicians, while guests including Jorja Smith, Yebba and Jessie Reyez offered their own interpretations. The Camden performance presented the album in full before all the singers returned for a shared version of Valerie.
Amy Winehouse’s music returned to the Roundhouse with the people who had helped create it and a new gathering of guest voices. The October 21 concert brought Back to Black to Camden, the London neighborhood closely associated with her life and career, six days before the twentieth anniversary of the album’s original release on October 27, 2006.
Mark Ronson and Salaam Remi, the record’s two principal producers, joined the Amy Winehouse Band for the occasion. Longtime bassist and collaborator Dale Davis served as musical director. Instead of asking one singer to reproduce an entire performance, the program distributed the songs across different artists, keeping the original musicians at the center of the evening’s shared musical language.
The venue carried another connection with Amy Winehouse. In July 2011, she made her final public appearance there alongside her goddaughter Dionne Bromfield, three days before her death at 27. The anniversary event returned to that room with a different purpose: performing the songs with the band and inviting other women to bring their own voices to the material.
Before the music began, members of the audience had dressed in ways recalling her distinctive image, with high hairstyles, dark eyeliner and clothes drawing on 1960s soul. Monkey Man prompted communal singing and dancing in the room. Those gestures formed the surroundings for a concert focused on the recordings rather than an attempt to reconstruct a single past appearance.
Corinne Bailey Rae opened with Back to Black, acknowledging the responsibility of performing such a familiar song. Her own debut album had also arrived in 2006, giving the anniversary a personal point of connection. She spoke about the confidence and playfulness of the original performances, as well as the songwriting’s capacity to remain part of listeners’ lives for decades.
Sasha Keable followed with Just Friends, a track associated with Remi’s production work. Her animated performance received one of the evening’s strongest responses. Skye Newman then sang Addicted and explained how an aunt who loved jazz and blues had introduced her to Amy Winehouse. Newman connected particularly with the directness of lyrics that gave difficult experiences a place inside a song.
FLO brought their group harmonies to He Can Only Hold Her, joined by p*nut, who had worked on the composition. His presence linked the new vocal arrangement with the song’s creation, when guitar parts and Winehouse’s developing melodies had come together. The trio’s synchronized movement and harmonies offered a different presentation from the individual performances surrounding them.
Before Love Is a Losing Game, Ronson recalled hearing its first quiet version with acoustic guitar. In his account, the singer initially resisted adding strings because she feared a result that would sound too sweet. He nevertheless tried an arrangement involving 50 musicians, then played it for her. He remembered her resting her head on the studio console before accepting that she liked it.
Yebba took the microphone after that story, keeping her interpretation restrained and leaving space for the melody and words. The recollection gave the performance a specific connection to the recording process. Rather than introducing an abstract account of Amy Winehouse’s influence, Ronson had described a disagreement and a listening moment from the work itself.
Lianne La Havas performed You Know I’m No Good after Ronson introduced her with praise for music he had followed since her first album. Jorja Smith chose a quieter delivery for Some Unholy War, allowing its vocal narrative to develop gradually. Different approaches could sit alongside one another because the same band supplied continuity across the changing singers. Smith’s selection emphasized one of the album’s less outwardly theatrical moments, bringing attention to the sustained phrasing of the song. It contrasted with the more physically energetic appearances without changing the evening’s focus on individual interpretation.
Jessie Reyez delivered Rehab near the end of the individual performances, moving energetically across the stage and shaking her hair during its closing passage. The song had been central to the international recognition of Amy Winehouse, and the audience responded strongly. Its momentum helped carry the concert toward the final gathering, when the other guests returned to the stage.
Valerie provided that shared ending, with singers dividing the lines and Ronson taking a guitar solo as the musicians encouraged the crowd to stand and dance. The Zutons song was not on the original Back to Black album, but Winehouse’s recording with Ronson had made it a natural addition. Skye Newman moved forward for her part, and Sasha Keable supplied the final vocal variation.
Back to Black reached No. 2 on the Billboard 200, and its singer won five Grammys in 2008. Television and radio broadcasts were scheduled in the United Kingdom for October 24 and 26 respectively. In the Roundhouse itself, the anniversary closed with the original musicians and the assembled voices together, sharing a song that had become inseparable from the partnership between Winehouse and Ronson.
