'Two Little Girls in Blue. My sister and I learnt it when we were younger, an old music hall song, I think. This would have been the most amazing place to sing it with the confidence of kids. (I’m a terrible singer).’

‘Send in the Clowns because I feel like I’m tip-toeing through some poignant backstage moments.’

‘Jazzabell (Franky Lane). Dad’s song to ma Maw at parties. The older I get the further I get from my heritage.’

‘The Auld Maid in the Garrett. There is a garrett-like quality - architectural mood, I mean, to the upper floor. And this is a lady that has been abandoned too.’

‘Suture up Your Future or Your Love is Like a Drug - Queens of the Stone Age. Songs that are good for modern burlesque performers.’

‘Keep Young and Beautiful, Noel Coward. Because it’s in character and cos it suggests with double irony that youth is beauty and the Panopticon proves otherwise.’

‘Blue Velvet.’

‘My "Song": John Cage 4'33. Walking into the Britannia I am always struck by the tensions between presence and absence. The space seems to demand performance but remains silent. It demands voices (chatter, performance...) but none are there. There is that expectation of a performance that is always thwarted. It is not just as if someone has turned down the volume, it is expectation coupled with emptiness, sadness. Amidst the paradoxical visual vitality of dilapidation, there is a distinct sense of something missing. Exactly what, I don't know - perhaps that is where the wonder lies. Perhaps it lies also partly in the fact that at moments, particularly of intense silence, the space evokes those voices, a babble, laughing...but maybe that's just me.'

‘Mack the Knife in German. The connection with cabaret was strong on the night.'

‘Happy Birthday! It’s my birthday.'

‘Something soul - Mustang Sally or similar [...] Because it’s grainy and gritty and emotional and this place is dark and warm and musty and old like soul. Would like to see it full of noise, smoke, steam.’

‘Martha by Tom Waits. “Those were the days of roses, poetry and prose...”’

‘Something for the Weekend, The Divine Comedy. A band I’ve loved for years and Neil Hanson’s cheeky performance style lends itself to music hall.’

‘Nelly Dean - memory of New Year family occasions in the past.’

‘The Cinematic Orchestra, Burn Out. Has no vocals but the layered nature of the music (both in terms of structure and type of instruments) and the tempo evoke very atmospheric qualities that echo the spaces in the Panopticon.’

‘Stormy Weather. Storms through the decades weathering them. Billie Holiday could have sung this perhaps when Glasgow singers were performing here.’

‘Edith Piaf, Je Ne Regrette Rien.’

‘I’ll Take the Highroad. This always used to feature in family sing-a-longs.’

‘Rule Britannia. Rousing, patriotic – belonging to another world completely.’

‘I Belong to Glasgow (I don’t) – atmosphere of this place.’

‘A quite soft piece of violin classical solo – probably something by J. Bach – would capture the haunting, delicate, understated quality that the building has fallen into over time – important to have a single sound that resonates and answers itself in the space.’

‘Something loud but …. ? reflect its past and memory.'

(all quotes from postcards left by visitors to glimmers in limbo: Britannia Panopticon)