The Gettys at Christmas: 'As perfect as it could be this side of eternity'

One week before Christmas, more than 5,000 people filled the iconic Royal Albert Hall for a Christ-focused festive blend of music and poetry, Scripture and song.

Home for Christmas with Keith and Kristyn Getty was ambitious and frenetic, yet comforting and familiar. A concert in two halves – the first half was an intentionally joyful Christmas "party" combining well-known carols and festive songs with a fusion of the Celtic tradition (a strong nod to the Gettys' Northern Irish roots) and Nashville country vibes - seasoned with a little English Christmas spirit.

The festival kicked off with I’ll be home for Christmas, and an upbeat rendering of God rest ye merry, gentlemen and Deck the halls, but it was unfortunate that Kristyn’s voice was almost drowned out by the backing music. Still, I was relieved this was not an issue for the rest of the evening.

Willing audience participation in any concert is a reliable measure of its success, and it’s fair to say we were invested from the beginning. It wasn’t difficult given Keith’s heartfelt encouragement from the start, and the genuine and contagious joyfulness and passion of all those on the platform.

It reached a crescendo with Sleigh Ride – and the four Getty girls throwing "snowballs" into the audience (and at their dad) - joyful Celtic dancing, instrumental solos and spoken word. It was lovely to see the girls singing with Kristyn, clearly relaxed and enjoying themselves - the youngest jumping up and down holding her mother’s hand as she sang.

Far from being "the Getty show," this was a Christmas music-fest with several supremely talented artists. Among them was Nigerian-born Gospel singer Blessing Offor; and Irish dancer and musician Shannon Lambert-Ryan who radiated joy throughout the evening. And the All Souls String Orchestra may be small, but it was impressive – not an easy undertaking in a venue as large as the Hall.

I doubt I was the only one transfixed by the multi-talented Gary Montgomery, who seamlessly switched between various flutes, Irish whistles and other instruments I didn’t recognise - producing beautiful haunting melodies.

Bringing things to a more sombre note, and with a little coaching from Keith to kick us off, the audience sang Silent Night, a capella – creating a beautiful, moving rendition of this most famous of carols. It was a fitting prelude to our participation in what was to come.

The second half was loosely based on "Nine Lessons and Carols" from King's College, Cambridge, but condensed to roughly an hour. It was a tall order and only made possible by truncating several verses across the traditional Christmas carols. It was a shame (my companion complaining that her favourite verse from Hark, the Herald angels sing was cut) - but needs must.

In his message, theologian and author John Lennox (Kristyn’s uncle) – unsteady on his feet but strong in speech and conviction - pointed us to Christ. He noted that “the Gift IS the Giver” – God becoming man, God made flesh.

Any show involving many moving parts - musicians, instruments, singers, speakers, equipment - requires careful planning. It’s typically only when things go wrong that an audience notices. Home for Christmas was, however, perfectly choreographed and smoothly executed. Even so, it managed to preserve an informality and naturalness that were fundamental to its success.

On the night of Christ’s birth, 2,000 years ago, a multitude of angels filled the skies praising God and heralding the arrival of the source of "peace on earth." Home for Christmas was a pale reflection of the angels’ concert - but it was, perhaps, as perfect as it could be this side of eternity.

The concert will be available to play on the Getty Music website throughout January 2026.