On December 21, Montrealers packed into Place des Arts’ Montreal Symphony House to witness a special Christmas performance by the longest-touring band in history, the Glenn Miller Orchestra. The concert’s charm lay in its traditional sound and welcoming atmosphere, easing the audience into the holiday season.
The program combined beloved holiday tunes with swing-era classics. During the American big band period in the 1930s and 1940s, bandleader Glenn Miller formed an ensemble that focused on carefully arranged music, setting it apart from other more improvisation-driven jazz bands. This approach led to remarkable commercial success, with original hits like Moonlight Serenade and Chattanooga Choo Choo becoming staples of radios and dance halls.
Throughout the concert, music director Erik Stabnau enhanced the experience by providing key historical context. However, the show had been sold out since July, suggesting that much of the audience was already familiar with the band. After the first warm notes of In The Mood, a tune likely recognizable even to listeners unfamiliar with Glenn Miller, the entire audience swayed in excitement.
While the twenty-odd musicians along with their hometowns across the United States were presented individually, Glenn Miller-style music puts a blended ensemble forward. Still, short moments such as the alto saxophone solo in the Glenn Miller original Pennsylvania 6-5000 stood out, with clear melodies and stable sustained notes.
The orchestra’s take on Christmas music was especially solid in terms of tempo and articulation. The rhythm section composed of piano, bass, and drums maintained an exceptionally steady flow, infusing the dependable character of Glenn Miller’s music in tunes like Jingle Bells or Winter Wonderland. In Sleigh Ride, however, the absence of other auxiliary percussion like sleigh bells, temple blocks, and slapstick was noticeable. Nonetheless, the rhythmic character of the piece was still somewhat conveyed through the instrumentalists’ precise staccato and accented notes.
Vocal performances were a highlight of the evening. Erik Stabnau masterfully alternated between conducting, playing saxophone, and singing, while vocalist Jenny Swoish appeared on roughly half the songs. After waving to all sides of the concert hall and greeting the audience with a welcoming speech punctuated by “y’all”s, the orchestra’s only female performer impressed with velvety, unforced singing with crisp diction. Swoish’s performance in Winter Wonderland and Stabnau’s rendition of What Are You Doing New Year’s Eve? were especially memorable.
The strength of the performances was definitely amplified by the exceptional acoustics of the Montreal Symphony House, the home of the Montreal Symphony Orchestra since 2011. Designed with Quebec beech wood panels and motorized ceiling baffles, the concert hall provided a rich and immersive sound rarely matched even in live performance.
As nostalgic audience members shuffled out of the warmly-lit venue, relaxed yet energized in anticipation of the holidays, I was struck with how enduring Glenn Miller-style music remains. Experiencing these songs live, especially with thoughtful commentary and engaged audience, highlighted how older traditions can remain meaningful and timely.
The Glenn Miller Orchestra will be touring the United States in 2026. Tour schedule HERE.
