Every December, somewhere in the UK, a society committee looks at the calendar, realises the spring show is months away and says the magic words: “Shall we do a Christmas concert?” And then somebody has to choose the songs.
This guide is for that somebody. Whether you run a community choir, a musical society or a drama group that fancies a sing, I’ll walk you through the best Christmas songs for choir, from the carols everyone knows to the show tunes that make a concert feel like your society’s night. I’ll also cover readings, a running order you can borrow, and the licensing questions worth asking before you print a single ticket. If you’re after a full festive show rather than a concert, my guide to Christmas musicals for amateur theatre has you covered.
A quick note on where I’m coming from. My first time on stage was at the age of 11, as July in Annie with Long Eaton Operatic Society (now LEOS Musical Theatre Group), and Annie is a Christmas story, so festive musical theatre and I go back a long way. I haven’t sung in a Christmas concert myself, so this isn’t a diary. It’s a planner’s guide, built from the shows and carols themselves and from how societies actually work.
Why a Christmas Concert Works So Well for Am Dram Societies
A concert is a different beast from a full production, and that’s exactly why so many societies love one in December.
It’s quick to put together
A full musical needs months of rehearsals, a set, costumes and a licence that can run into hundreds of pounds. A concert needs a musical director, a pianist or band, a venue and a few weeks of focused rehearsal. It fits neatly into the gap between an autumn show and the start of spring rehearsals.
Everyone gets a moment
In a show, casting decides who sings what. In a concert, you can give a solo to the ensemble member who never quite gets the lead, put together a trio of friends who’ve always wanted to sing together, or let the whole company loose on a big chorus number. It’s brilliant for morale.
You can sing songs you’d never be cast for
This is my favourite thing about concerts. They let you sing numbers you would never be cast for in a show because of playing age or fit. I’d love to sing Matchmaker from Fiddler on the Roof in a concert one day, for exactly that reason. (Fiddler is licensed through MTI Europe, but in a concert you’re singing the song, not staging the show. More on that difference in the licensing section.)
It brings in new faces
A Christmas concert is often the easiest way for someone to try your society out. It’s short, friendly and sociable, and plenty of people who would never put themselves forward for a full show will happily join a festive choir for six weeks. If that’s you, my guide on how to join an amateur theatre society in the UK is a good next step.
Traditional Christmas Carols Every Choir Can Sing
Carols are the backbone of most Christmas concerts. They’re familiar, they’re mostly very old, and audiences love joining in. I’d split them into three groups when you’re planning.
The big singalong carols
These are the ones your audience will sing whether you ask them to or not. Put two or three in as audience carols and you’ll have the whole room with you.
- Silent Night. First performed on Christmas Eve 1818 at St Nikolaus Church in Oberndorf, near Salzburg, with words by Joseph Mohr and music by Franz Xaver Gruber (history here). Gentle, simple and perfect for candlelight.
- O Come, All Ye Faithful. Usually attributed to John Francis Wade in the 18th century, though its origins aren’t proven. It’s a natural opener or closer, and choirs with confident sopranos can add a descant on the last verse.
- Hark! The Herald Angels Sing. Charles Wesley wrote the words in 1739, and the tune everyone knows was adapted from Mendelssohn. Big, bright and a reliable finale.
- Once in Royal David’s City. Words by Cecil Frances Alexander (1848), tune by Henry Gauntlett. More on its famous opening solo below.
Carols with more choral meat
If your choir can read parts and wants a challenge, these give you real singing to get your teeth into while still sounding unmistakably like Christmas.
- In the Bleak Midwinter. Christina Rossetti’s poem has two famous settings: Gustav Holst’s hymn tune Cranham (1906), which is easy for congregations, and Harold Darke’s 1909 anthem, which is much more of a choral showpiece. In 2008, BBC Music Magazine asked choral experts to vote for the best carol and this one came top (background here).
- The Coventry Carol. A 16th century carol from the Coventry mystery plays (the Pageant of the Shearmen and Tailors). It’s short, haunting and gives a concert a quiet moment of real depth.
- Ding Dong Merrily on High. George Ratcliffe Woodward’s words sit on a 16th century French dance tune from Thoinot Arbeau’s Orchésographie (1589). The long runs on the chorus are a great test of breath control, so warm up properly.
- Carol of the Bells. Based on Mykola Leontovych’s Ukrainian Shchedryk, with English words by Peter J. Wilhousky from 1936. It needs crisp diction and solid rhythm, and it’s thrilling when it works.
Modern choral carols
Plenty of choirs like to mix in newer carols. John Rutter is the name most UK choirs reach for, and his own carols include Star Carol, Candlelight Carol and Shepherd’s Pipe Carol (listed on his site). These are in copyright, so you’ll be buying or hiring the sheet music rather than downloading a free score, and your MD will want to check the arrangement suits your numbers.
Carols at a glance
| Carol | Words and music | Date | Best for |
|---|---|---|---|
| Silent Night | Joseph Mohr, Franz Xaver Gruber | 1818 | Candlelit moment or audience carol |
| O Come, All Ye Faithful | Attributed to John Francis Wade | 18th century | Opener or closer, audience carol |
| Hark! The Herald Angels Sing | Charles Wesley, tune adapted from Mendelssohn | Words 1739 | Finale, audience carol |
| Once in Royal David’s City | Cecil Frances Alexander, Henry Gauntlett | 1848 | Opening procession with solo |
| In the Bleak Midwinter | Christina Rossetti; Holst (1906) or Darke (1909) | Early 1900s | Holst for audiences, Darke for the choir |
| The Coventry Carol | Traditional, Coventry mystery plays | 16th century | A quiet, reflective moment |
| Ding Dong Merrily on High | G. R. Woodward, French dance tune | Tune 1589 | Upbeat choir item |
| Carol of the Bells | Mykola Leontovych, English words Peter J. Wilhousky | 1936 (English) | Showpiece for a confident choir |
Christmas Songs From Musicals
This is where a society concert can really stand out from the church choir down the road. Christmas songs from musicals bring character, comedy and a bit of sparkle, and if your members are musical theatre people, they’ll relish them. Here are the ones I’d look at first, with the licensor I found for each show.
We Need a Little Christmas (Mame)
Jerry Herman wrote the music and lyrics for Mame, which opened on Broadway in 1966, and this number is pure festive optimism. It works brilliantly as a whole company opener. Mame is a Tams-Witmark title licensed through Concord Theatricals UK.
Christmas Bells (Rent)
Jonathan Larson’s Rent includes Christmas Bells, a busy, layered ensemble number. It’s a great pick for a younger or more contemporary group who want something that isn’t a carol in disguise. Rent is licensed by MTI Europe.
White Christmas, Happy Holiday, Snow and Count Your Blessings
Irving Berlin introduced White Christmas in the 1942 film Holiday Inn, and the stage musical Irving Berlin’s White Christmas gathers it up with Happy Holiday, Snow and Count Your Blessings. A short Berlin medley is an easy crowd pleaser. The stage show is licensed through Concord Theatricals UK, whose page asks societies to submit a licence request to determine availability.
Have Yourself a Merry Little Christmas (Meet Me in St. Louis)
Hugh Martin and Ralph Blane wrote this for the 1944 MGM film Meet Me in St. Louis, where Judy Garland introduced it. It’s also in the stage version, sung by Esther in Act II. As a solo it’s one of the loveliest things you can put in a concert. The stage show is a Tams-Witmark title licensed through Concord Theatricals UK.
Sparklejollytwinklejingley and A Christmas Song (Elf)
Elf The Musical has music by Matthew Sklar and lyrics by Chad Beguelin, and its songs include Sparklejollytwinklejingley and A Christmas Song. They’re fun, family friendly and ideal if your audience includes children. Elf is licensed by MTI Europe.
Thank You Very Much (Scrooge)
Leslie Bricusse wrote the book, music and lyrics for Scrooge, and Thank You Very Much is the big joyful number everyone remembers. It makes a cracking concert finale. Scrooge is licensed through Concord Theatricals UK, which also lists a shorter abbreviated version.
NYC (Annie)
Annie is set in New York in 1933, in the run up to Christmas, and ends on Christmas morning. N.Y.C. is a big, warm ensemble number with room for a featured soloist. It’s licensed by MTI Europe, which also has a handy Christmas shows page if you’re browsing for festive titles. (Yes, I’m biased. July was my first ever role.)
Show songs at a glance
| Song | Show | Writers | UK licensor of the show |
|---|---|---|---|
| We Need a Little Christmas | Mame | Jerry Herman | Concord Theatricals (Tams-Witmark) |
| Christmas Bells | Rent | Jonathan Larson | MTI Europe |
| White Christmas, Happy Holiday, Snow, Count Your Blessings | Irving Berlin’s White Christmas | Irving Berlin | Concord Theatricals |
| Have Yourself a Merry Little Christmas | Meet Me in St. Louis | Hugh Martin and Ralph Blane | Concord Theatricals (Tams-Witmark) |
| Sparklejollytwinklejingley, A Christmas Song | Elf The Musical | Matthew Sklar and Chad Beguelin | MTI Europe |
| Thank You Very Much | Scrooge | Leslie Bricusse | Concord Theatricals |
| N.Y.C. | Annie | Charles Strouse and Martin Charnin | MTI Europe |
Licensors checked on 4 November 2026. None of these pages lists a simple “available” status for UK amateur societies: each asks you to apply, and availability is confirmed when you do. That matters most if you’re staging a scene, which I cover below.
Choosing Songs That Suit Your Singers
A great concert setlist is built around the voices you actually have, not the ones you wish you had.
Check your voice parts first
Before you fall in love with a four-part arrangement, count your tenors. Many societies are top heavy, with plenty of sopranos and altos and only a handful of men. Two or three part arrangements (SA, SAB or SATB with a light tenor line) are often the realistic choice. If you’re not sure where your members sit, my guide to vocal types in musical theatre explains the main classifications.
Match solos to singers
Give soloists songs that sit in a comfortable range rather than songs that sound impressive on paper. The same thinking I use for choosing audition songs by voice type applies here: pick for the voice, the character and the story the singer can tell.
Balance the mood
Christmas has two moods: candlelit and reflective, and tinsel and silly. A good concert has both. Aim for roughly one quiet number for every two lively ones, and don’t put two slow solos back to back.
Think about the audience
A church audience may expect more carols; a theatre audience may want more show tunes. A family concert needs things children recognise. Ask who’s coming before you finalise the list.
Readings for a Carol Concert
Readings give singers a breather, give non-singers in your society a way to take part, and change the texture of the evening. Here’s where to start.
The Nine Lessons and Carols format
The most famous carol service in the world is the Festival of Nine Lessons and Carols at King’s College, Cambridge. According to King’s College, Edward White Benson drew up the original order for Truro in 1880, Eric Milner-White planned the first King’s service on Christmas Eve 1918, and it was first broadcast in 1928. The service opens with Once in Royal David’s City, traditionally begun by a solo treble who is chosen just before the service starts.
You don’t need to copy it, but its shape is useful: readings that tell a story in order, each followed by a carol that answers it. Even a secular society concert can borrow that rhythm of read, sing, read, sing.
Poems and prose that work well
- The Oxen by Thomas Hardy. First published in The Times in December 1915 (background). Short, wistful and beautiful read aloud.
- A Visit from St. Nicholas. Better known as ‘Twas the Night Before Christmas. It first appeared anonymously in 1823 and is attributed to Clement Clarke Moore (some argue for Henry Livingston). Perfect for a family concert, especially if you split it between several readers.
- An extract from A Christmas Carol. Charles Dickens published it on 19 December 1843 (background). A two minute extract, such as Scrooge waking on Christmas morning, is a gift for a confident actor, and it pairs naturally with Thank You Very Much.
- Bible readings. If you’re in a church or running a traditional carol service, the familiar nativity readings from Luke and Matthew are the obvious choice.
How long should a reading be?
Keep each one to two or three minutes at most. Brief your readers to slow down, project, and pause before the last line. This is a performance, not a read-through, so the same skills you’d use on stage apply.
Who should read?
Readings are a lovely way to involve members who don’t sing, backstage crew who never get a bow, or a local figure your society wants to thank. Just make sure each reader rehearses in the venue at least once.
Building a Christmas Concert Running Order
A running order can make an average setlist feel brilliant, or a brilliant setlist feel flat. Here’s how I’d shape one.
Open with energy
Start with something everyone knows or a big company number. O Come, All Ye Faithful as a procession, or We Need a Little Christmas straight in, both tell the audience they’re in for a good night.
Vary the texture
Alternate full choir, small groups, solos and readings. Change key and tempo between items. If two songs in a row sound alike, the audience stops listening to either.
Plan the audience carols
Two or three audience carols are plenty. Print the words in the programme (traditional carols are out of copyright, but check any modern arrangement or translation you’re printing) and tell the audience when to stand, if you want them to.
Use the interval
If your concert runs over an hour, have an interval. It’s when your society raises money (mince pies, a raffle, mulled wine if your venue allows) and it gives singers a vocal rest.
Finish big
End with your strongest company number, then an audience carol so everyone goes home singing. Hark! The Herald Angels Sing is the classic for a reason.
A sample running order
| Slot | Item | Who | Approx. time |
|---|---|---|---|
| 1 | O Come, All Ye Faithful (procession) | Full choir and audience | 4 min |
| 2 | Welcome | Chair or MD | 2 min |
| 3 | We Need a Little Christmas | Full company | 3 min |
| 4 | Ding Dong Merrily on High | Choir | 3 min |
| 5 | Reading: The Oxen | Reader | 2 min |
| 6 | Have Yourself a Merry Little Christmas | Soloist | 4 min |
| 7 | Christmas Bells | Small group | 4 min |
| 8 | Silent Night | Choir and audience | 4 min |
| 9 | Irving Berlin medley | Full company | 6 min |
| Interval | 20 min | ||
| 10 | Carol of the Bells | Choir | 2 min |
| 11 | Reading: A Visit from St. Nicholas | Several readers | 4 min |
| 12 | Sparklejollytwinklejingley | Small group or children’s section | 3 min |
| 13 | In the Bleak Midwinter (Darke) | Choir with soloists | 5 min |
| 14 | Reading: A Christmas Carol extract | Actor | 3 min |
| 15 | Thank You Very Much | Full company | 4 min |
| 16 | Hark! The Herald Angels Sing | Everyone | 4 min |
That adds up to just under an hour of music and readings, which grows to well over an hour once you allow for applause, introductions and changeovers, plus the interval. Swap items in and out to suit your singers.
Practical Planning for Your Christmas Concert
Set a rehearsal schedule
Work backwards from the concert date. Six to eight weekly rehearsals is a sensible pattern for a society concert, with a final run in the venue. Get soloists learning early, because December fills up fast with work parties and family plans.
Sort the music early
Decide on arrangements before the first rehearsal and get copies to everyone. Many choral arrangements of modern carols and show songs are in copyright, so buy or hire them from a publisher or music shop rather than photocopying. Your MD will usually take the lead here.
Book the right venue
Churches have wonderful acoustics for carols but can be cold, and some have limited power for a keyboard or band. Theatres and halls suit show songs better. Visit at the same time of day as your concert and check heating, lighting, seating and toilets.
Don’t forget backstage
Even a concert needs someone running it. A stage manager (or a well organised volunteer) keeps the running order moving, gets soloists to the microphone and makes sure the readers know when they’re on. Front of house matters too: ushers, programmes, the raffle and the interval refreshments.
Publicise it
Posters in local shops, the society’s social media, the church newsletter and a mention in the local paper all help. If you’re stuck for broader planning ideas, my guide to choosing a show covers how committees weigh up audience, cost and cast, and most of it applies to concerts too.
Licensing and Permissions for a Christmas Concert
This is the bit committees tend to forget until somebody asks. I’m not a lawyer and this isn’t legal advice, but here’s what the UK bodies themselves say, so you know which questions to ask.
Music licences for public performance
Performing copyright music in public usually needs a licence. TheMusicLicence from PPL PRS covers playing or performing virtually all commercially released music in public, and PPL PRS says that if you put on concerts or theatrical performances you will usually need a music licence. Many venues already hold one, so your first question when booking should be: “Is the venue licensed for live music, and does that cover our event?” Traditional carols whose writers died long ago are out of copyright, but modern carols, arrangements and show songs are not.
Singing show songs versus staging them
Here’s the important one for musical theatre people. PRS for Music explains that the right to perform a dramatic work such as a musical is the “grand right”, which PRS doesn’t license: it has to come from the work’s publisher (PRS grand rights guide). Making Music, the UK body for leisure-time music groups, puts it plainly: a concert performance of an extract with no staging is covered by PRS in the usual way, but costume, characterisation, scenery, props or choreography count as staging, and then you need permission from the publisher (Making Music on grand rights). Simple movements like finger clicks don’t count.
So if your Elf number involves elf costumes and a routine, or your Annie trio performs the scene in character, contact the show’s licensor first. If you’re standing in your concert blacks singing the song, it’s a concert performance.
Concerts in churches
Churches are a special case. CCLI says music in acts of worship is exempt from PRS and PPL licensing as long as no entry charge is made, but live concerts on church premises need a PRS for Music Church Licence, which covers up to six concerts a year (CCLI on PPL and PRS). Making Music adds that if your society hires a church, the church’s own agreement may not cover your event, so ask about PRS and CCLI cover when you book (Making Music on church venues).
Frequently Asked Questions
What are the best Christmas songs for choir?
For a mixed community choir, start with the classics everyone knows (O Come, All Ye Faithful, Silent Night, Hark! The Herald Angels Sing), add one or two with more choral interest (In the Bleak Midwinter, Ding Dong Merrily on High, Carol of the Bells) and finish with a modern carol or a show tune to suit your group.
How long should a Christmas concert be?
About an hour to an hour and a quarter of music, with a 15 to 20 minute interval, suits most audiences. Shorter is fine for a family or daytime concert.
Can we sing songs from musicals in a Christmas concert?
Yes. A straight concert performance of a song is usually covered by the venue’s music licence. If you add costume, characterisation, props or choreography, it counts as staging, and you’ll need permission from the show’s licensor. Check with your venue and the licensor if you’re unsure.
What readings work at a carol concert?
Bible nativity readings for a traditional service; poems such as Thomas Hardy’s The Oxen; A Visit from St. Nicholas for families; and short extracts from Dickens’ A Christmas Carol. Keep each reading to two or three minutes.
Do we need a licence to sing carols in public?
Traditional carols whose writers died long ago are out of copyright, but the performance may still be part of a licensed event, and modern carols and arrangements are in copyright. Ask your venue whether it holds TheMusicLicence or, for churches, a PRS Church Licence that covers your concert.
Over to You
A Christmas concert is one of the friendliest things a society can do: low cost, big heart, and a chance for everyone to shine. Pick songs that suit your voices, give your readers their moment, shape the running order with care and check your licences early. Then enjoy the mince pies. For more festive inspiration, read my guide to Christmas musicals for amateur theatre, or if you’re a singer looking for your own solo, try my mezzo-soprano audition songs or free singing lessons.