Review: The Ayoub Sisters at Soundhouse Winter Fest

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It is a Sunday afternoon in Edinburgh, a time usually reserved for somnolence or a gentle stroll. Inside the Traverse Theatre, however, the atmosphere was decidedly electric. Resplendent in sparkling catsuits and playing to a capacity crowd, The Ayoub Sisters—Laura and Sarah—were not here to deliver a polite chamber recital. They exist to charm, dazzle, and dismantle the boundaries between the classical conservatory and the pop arena.

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This performance, part of the Soundhouse Winter Fest, offered a distinct reminder of why the Scottish-Egyptian duo are rapidly outgrowing intimate venues. Their chemistry is not merely the result of rehearsal, but the intuitive, unspoken shorthand of siblings, a quality that elevates their work from technically proficient to genuinely engaging.

A Journey Through Genre and Geography

Opening with a medley of Scottish tunes—including a spirited nod to The Barnyards of Dalgety—the sisters immediately established the scope of their musical geography. The set was less a recital and more a curated tour through their influences and biography. They transitioned seamlessly from their heritage to the ‘acceptable’ classical repertoire, and onto the cinematic.

Their cover of Misirlou, immortalised by Pulp Fiction, was a cracking, high-energy affair, while their rendition of Hesham Nazih’s Hymn to Isis (written for the Pharaohs’ Golden Parade) was splendidly engulfing. In contrast, a jazz-inflected arrangement of The Beatles’ Blackbird proved they can handle subtlety just as well as spectacle.

Looping Wizardry and Percussive Force

What sets the Ayoub Sisters apart is their willingness to embrace technology without letting it obscure their musicianship. The use of loop pedals and amplification was judicious—enhancing the soundscape rather than overwhelming it.

Sarah Ayoub, on cello, deserves particular credit for her versatility here. Her bowing is lyrical, but it is her percussive work—striking the body of the cello to create rhythmic backbones—that drives the duo. She utilises the amplification to turn percussive taps into a storm of beats, allowing two bows to create a wall of sound that feels symphonic.

Conversely, Laura Ayoub on violin provides the melodic fire. Her technique is sharp and agile, unafraid to banter with the audience like a pop star one moment and execute complex classical runs the next.

Highlights: From Cairo to Vivaldi

If one had to select the peaks of the afternoon, the rendition of their single El Helwa Di stands tall. It is a masterclass in pacing, a slow-burn arrangement that eventually combusts into a magnificent whirl of Middle Eastern melody and beat.

However, the closing performance of Winter from Vivaldi’s The Four Seasons offered another undeniable showstopper. Delivered with aplomb, it showcased Laura’s dexterous fiddle technique, proving that beneath the loops and the lights, the foundational skill is rock solid.

If I had one critique of the wonderful hour they conjured it would be an over-indulgence in a grasshopper tendency to leap between works. That said, as a ‘hello Edinburgh’ concert, they did themselves very proud.

Final Thoughts

The duo teased a new symphony set to debut at Celtic Connections in 2026, a signal of their continuing ascent. It is clear that Laura and Sarah are growing into global prospects, possessing a joyful embrace of their audience that is rare in instrumental circles.

Soundhouse Winter Fest offered Edinburgh audiences a treat by booking them in the relatively compact Traverse 1. Given their trajectory, it is unlikely we will catch them in such modest rooms in the years to come.

Post Script: A Vital Antidote to the Winter Blues

The Ayoub Sisters’ Sunday triumph was but one facet of the Soundhouse Winter Festival, a vital injection of colour into the grey Edinburgh winter. Now in its second year, the festival is a testament to the producing magic of Jane Ann Purdy and Douglas Robertson. Their curation—spanning Graeme Stephen’s Metropolis score, Niki King’s jazz vocals, and the “musical sketches” of Chris Amer—offers a sophisticated alternative to the festive playlist fatigue that often sets in by December.

It is no small feat to draw audiences out on dark nights, yet with 72% of attendees hailing from the capital, Soundhouse has proven, once again, that locals crave high-quality, diverse live performance year-round. We are fortunate to have such staunch champions of independent music in our midst. With Edinburgh Tradfest returning in May 2026 and the Winter Festival confirmed for next November, the city’s sonic landscape is in safe hands.

Featured Image: The Ayoub Sisters – Soundhouse Winter Festival – Traverse Theatre – c – William Quinn

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The Ayoub Sisters performed on the 29th of November 2025. For more information, click here.

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