Introduction
Music has been an integral part of weddings for centuries, setting the tone for both sacred ceremony and jubilant celebration. In the United Kingdom, wedding music traditions have evolved dramatically from the medieval period through to the modern day. Early on, church chants and rustic dances filled wedding days; later, classical masterpieces and romantic marches became staples of the “big day.” In recent times, couples have shifted towards personal playlists and popular songs, often blending old and new. Throughout these eras, the music chosen for the ceremony and the reception (the wedding breakfast in British parlance) reflects broader cultural changes while underlining timeless themes of love, joy, and community. Below, we trace the history of music at UK weddings, with comparative notes from European traditions, highlighting what has changed and what has remarkably stayed the same.
Medieval Period: Sacred Chants and Festive Feasts
In medieval England (roughly the 5th to 15th centuries), weddings were deeply rooted in religious ritual and community festivity. The Church dominated wedding ceremonies after marriage became a sacrament: by the 12th century, it was customary (and later legally required) for a priest to bless the union. As a result, music during the ceremony was typically sacred. In a medieval church wedding, one would likely hear Gregorian chants or simple hymns sung in Latin. These plainchants – solemn, unaccompanied vocal melodies – gave the ceremony a reverent atmosphere. If the church was fortunate enough to have an organ (by the high Middle Ages, pipe organs were appearing in larger churches and cathedrals), it might be used to play processional music as the bridal party entered or to accompany congregational hymns. Overall, ceremony music was modest and spiritual, emphasizing the holy nature of the vows.
After the church service, however, the mood changed from piety to revelry. Medieval wedding receptions (often held as large feasts in a great hall or outdoors in the village) were lively affairs filled with music, dancing, and merrymaking. Here, the influence of the Church waned and folk traditions took over. It was common to have minstrels or troubadours– traveling musicians – perform songs that told tales of love and celebration. These could be ballads or up-tempo folk tunes played on instruments of the day. Typical medieval instruments included the lute and harp (for gentle melodies), fiddles (medieval violins), flutes and recorders, and drums or tambourines to mark rhythm. In some regions of Britain, bagpipes and shawms (early woodwinds) would add a bold, festive sound. Such music was meant to entertain guests and encourage dancing. Dancing itself was usually communal: popular dances involved circle dances or line dances where everyone could join, reflecting the communal nature of medieval life. For example, the “carole” was a common medieval circle dance often done at celebrations, with participants holding hands and stepping to the music’s simple rhythms. Through these dances and songs, music symbolized fertility, joy, and the joining of not just two people, but two families and communities.
It’s worth noting that many elements from medieval wedding music have enduring echoes today. The basic structure of a solemn ceremony followed by a joyous reception with dancing was cemented in this era. The idea of a processional(bride’s entrance) and recessional (couple’s exit) accompanied by music also has medieval roots, even if back then it might have been a psalm or chant rather than a recognizable tune. And the notion of a celebratory first dance or group dancing at the reception extends from the rambunctious medieval feasts right up to the dance floors of modern weddings. Across medieval Europe, similar patterns held: a church-centered ceremony (whether Roman Catholic in most of Europe or, later, Eastern Orthodox in other regions) would feature sacred music, while the village or court celebration afterwards embraced local musical customs. Thus, medieval wedding music in Britain was both a spiritual invocation of blessing and a festive soundtrack for community bonding, laying a foundation for centuries of tradition.
Renaissance Era: From Church Restraint to Secular Merriment
The Renaissance (late 15th through 16th century) brought significant changes to wedding music in England, influenced by religious reform and a blossoming of secular arts. During this period, England underwent the Protestant Reformationand the rise of Puritanism, which greatly affected music in church ceremonies. Marriages were still almost always performed in church, but strict Protestants frowned upon elaborate music in worship. As a result, wedding ceremonies in Renaissance England were often musically austere. Simplicity was key: instead of the rich Latin polyphonic choral pieces that might have been heard in Catholic countries, an English church wedding under Puritan influence might feature a congregational Psalm sung in English or even no music at all for portions of the service. The use of musical instruments in church was discouraged by Puritans, who viewed them (and complex polyphonic singing) as a worldly distraction from the solemnity of the vows. Many organs in parish churches were removed or fell silent during the 16th century because of these attitudes. Thus, a Renaissance-era bride walking down the aisle in England did so to relatively subdued accompaniment – perhaps a simple processional Psalm or hymn sung by those present, rather than jubilant instrumental fanfare.
Paradoxically, while the official church ceremony was musically restrained, secular music-making outside the ceremony flourished as never before. The Renaissance was an age of great musical creativity, and weddings benefited from this in the form of entertainment at the wedding feast. Composers of the era wrote songs and dances specifically suited for celebrations of love. In England, renowned composers like John Dowland and Thomas Morley created beautiful madrigals (polyphonic vocal songs in English) that could be sung at social gatherings, including weddings. These madrigals often had themes of love, joy, and the delights of marriage – perfect for a post-ceremony tribute to the newlyweds. For instance, a madrigal might be performed by a small ensemble of singers to honor the couple during the banquet.
Instrumental music also took center stage at Renaissance wedding festivities. Ensembles of lutes, viols (early string instruments similar to violins and cellos), and recorders were common to entertain guests during the feast. The wealthy might hire professional consorts (instrumental ensembles) to play courtly dance music, while the middle class – which was growing in this era – often prided themselves on participating in music-making. It was not unusual for members of the family or community to perform a piece if they were musically trained; having musical skill was a mark of good breeding and education in the Renaissance. Thus, music at the reception was both an entertainment and a social accomplishment.
Dancing remained a highlight of the wedding celebration, and the Renaissance era brought its own dances in style. Popular tunes of the day, often known as broadside ballads, provided catchy melodies for group dances. (One example from mid-16th century England was a tune called “Turkeylony,” with humorous lyrics about marriage, danced by many at weddings.) Dances could involve large circles or lines so that many guests could join (these were somewhat similar to medieval dance forms), but the Renaissance also introduced more couple-focused courtly dances. In upper-class weddings, you might find specialized dances called court dances, divided into slow “basse” dances and lively “haute” dances. An evening of dancing would often start with a slow, elegant basse dance – perhaps an Almain (Allemande), which was a graceful partner dance considered suitable as a first dance for the newly married couple. In an Almain, the bride and groom would hold hands and move with measured, intertwining steps, symbolizing harmony and partnership. As the night went on, faster haute dances like the lavolta (a daring dance where the gentleman would lift his partner off the ground) got everyone hopping and skipping with excitement. Even as Puritan onlookers sometimes disapproved of such “frivolous” merriment, these dances were extremely popular, underscoring that the social celebration through music and dance was irrepressible.
In continental Europe, the Renaissance wedding music scene had some contrasts with England. In Catholic countries like Italy or Spain, elaborate polyphonic music did feature in wedding masses for the nobility – a wealthy Spanish or Italian wedding might include a magnificent choral Mass setting by a composer like Palestrina, with voices echoing through a grand cathedral. Meanwhile, outside the church, European courts enjoyed similar secular trends: for example, in Renaissance Italy, lute songs (frottola or early opera madrigals) might serenade the couple, and dances like the pavane and galliard (popular in France and Italy) were akin to the English Almain and lavolta. This cross-European tapestry of music meant ideas spread – an English noble might adopt a fashionable French dance tune for his wedding, or vice versa. Overall, the Renaissance era in the UK saw wedding music split into two spheres: the ceremony became simpler and more pious in sound, reflecting religious reform, whereas the celebration after was enriched by the era’s blossoming secular music and artful dances that added flair and emotion to the union.
Baroque Era: Splendor and the Sound of the Organ
By the Baroque era (17th century into the early 18th century), wedding music in Britain began to regain a sense of grandeur, blending the religious and the celebratory. After the turbulence of the Reformation and, later, the strict Puritan rule under Cromwell (when even Christmas was banned and many festivities were muted), the restoration of the monarchy in 1660 brought a revival of musical culture, including in church ceremonies. The pipe organ – which had been suppressed in many churches – made a comeback as a central instrument for worship. In Church of England wedding services of the Baroque period, an organist would often play instrumental pieces as preludes, processionals, and recessional music. We begin to see the emergence of more instrumental wedding ceremony music: for example, a bride in the late 17th century might walk down the aisle to a stately organ voluntary (a piece composed for organ), and the couple might exit to a joyful postlude played on the organ, marking the happy conclusion of the vows. This practice of using instrumental music in ceremonies set the stage for the wedding marches that would come in later eras.
The Baroque period also introduced many compositions that either immediately or eventually became favorites at weddings. Notably, English composers and those who worked in England contributed to the repertoire of ceremonial music. Henry Purcell, a great 17th-century English composer, wrote ceremonial odes and pieces for royal occasions. His music, with trumpets and strings, was fitting for grand events – and indeed, a piece long attributed to Purcell, the “Trumpet Voluntary,” became a very popular wedding processional (it was actually composed by Purcell’s contemporary Jeremiah Clarke around 1700, but for many years people called it Purcell’s Trumpet Voluntary). This piece, properly titled “The Prince of Denmark’s March,” is a triumphal trumpet tune that evokes pure celebration and has been used in countless British weddings, especially for the bridal entrance. Although composed during the Baroque era, it gained iconic status later (even featured in the wedding of Prince Charles and Lady Diana in 1981), showing the long-lasting influence of Baroque music. Another celebrated Baroque composer, Johann Sebastian Bach from Germany, did not have his music widely used in English weddings at the time (he was slightly later, early 18th century), but in the generations to come several of Bach’s works became wedding mainstays in Britain. For example, “Jesu, Joy of Man’s Desiring” (a chorale from Bach’s church cantata, 1720s) is often played by organists or string ensembles during the signing of the register or as a prelude in ceremonies because of its serene, uplifting melody. Similarly, Bach’s “Air on the G String” (an arrangement from one of his Orchestral Suites) with its gentle, flowing lines is frequently chosen for moments like the bridal party’s entrance or seating of guests. These pieces weren’t written specifically as wedding music, but their Baroque elegance and joyful character made them natural fits.
During the Baroque era, wedding receptions (for those who could afford a substantial celebration) took on the character of splendid banquets with refined entertainment. Live music was a mark of prestige. String chamber music was very fashionable – one might hire a small group of violinists and cellists (and perhaps a harpsichordist) to play the latest compositions by Corelli or Handel as dinner music. In fact, George Frideric Handel, the German-born composer who settled in London in the early 1700s, contributed to British ceremonial music culture. While Handel is best known for his operas and oratorios, some of his instrumental works have found a place in wedding celebrations; for instance, the lively “Arrival of the Queen of Sheba” (from Handel’s oratorio Solomon, 1749) with its quick, bright strings is today a popular choice for a wedding recessional or post-ceremony exit music. Though coming at the tail end of the Baroque period, Handel’s influence in Britain was immense and his music often graced royal and noble weddings.
In terms of dancing, the Baroque era in Britain saw a mix of elegant court dances and traditional country dances at wedding festivities. The upper classes in the 17th and 18th centuries enjoyed minuets, a graceful and moderate-tempo dance for couples that symbolized refined courtship – a newlywed couple might begin their ball with a minuet to display their harmony and poise. English country dances (lively group dances that were the precursor to contra and square dancing) were also hugely popular across social classes. Collections of country dance tunes were published widely, and a band of fiddles and flute would strike up these catchy melodies at weddings, getting everyone from lord to farmer on their feet. One could imagine a country manor wedding around 1700: after a formal minuet by the bride and groom, the whole gathering might join in a spirited country dance set to tunes from John Playford’s dance books (which were bestsellers in that era).
Culturally and symbolically, Baroque wedding music reflected a balance between splendor and tradition. The use of trumpets and organs for ceremony lent a regal air, underlining that a wedding was an occasion of importance and dignity. At the same time, the participation of guests in well-known dances and songs at the feast kept alive the age-old communal aspect of weddings. In Europe broadly, similar trends prevailed. In France, for example, the grandeur of Versailles meant even common weddings aspired to a bit of pomp – organ music in church, and maybe a local ensemble playing a simplified version of a court dance at the reception. In Protestant Germany, Bach himself wrote several wedding cantatasto be performed during church ceremonies for his patrons – these cantatas were essentially sacred concert pieces celebrating marriage, indicating that in some places, substantial music had returned to the church wedding service. England’s own unique journey through Puritanism to Restoration meant that by the early 18th century, wedding music could be both sacred and lavish, blending the church’s approval with the celebratory expectations of families.
Classical Era: Refined Elegance and Courtly Celebrations
The Classical era (late 18th century, roughly the time of Mozart and Haydn, extending into the early 19th century) continued the trend of musical refinement at weddings, although there were not yet new “blockbuster” wedding marches – those would come a bit later. In Georgian-era Britain, weddings, especially among the upper and middle classes, were often daytime affairs followed by a luncheon or ball. Music during this period emphasized clarity, balance, and elegance, mirroring the aesthetic of the Classical music style.
During the wedding ceremony in the late 1700s, the format in an Anglican church would typically include hymns and possibly simple instrumental interludes. Couples still loved the established pieces: organists might play arrangements of popular works of the day as preludes. For instance, a piece by Handel or Mozart could be transcribed for organ or played by a small ensemble during the signing of the marriage register (a moment in church weddings when instrumental music often fills the background). While Mozart and Haydn themselves didn’t specifically write a famous “wedding march,” their music was certainly present in the cultural life of the time. A bride around 1790 might not have a distinctive personal entrance theme (the idea of a standard bridal processional tune hadn’t solidified yet), but she may walk in to a dignified organ piece or a stately hymn like “Praise to the Lord, the Almighty,” keeping the tone respectful and joyous. In Catholic parts of Europe at this time, composers like Mozart did write wonderful masses and liturgical music that could be used in nuptial masses (Mozart’s own Mass in C Major was later nicknamed the “Coronation Mass” and used in grand ceremonies), but in the UK the ceremony music remained largely in the hands of the local church organist and the couple’s choice of hymns or Psalms.
When it came to the wedding reception (often referred to as the wedding breakfast if it followed a morning ceremony), live music was a key feature of entertainment. The Classical era saw the rise of the string quartet as a popular ensemble for chamber music, and such groups might be engaged to play during a wedding dinner or small house reception. The music would be genteel – perhaps the quartet would perform some of Haydn’s light string quartets or arrangements of popular tunes, providing a pleasant background for conversation. After the meal, if the celebration continued into a dance (for wealthier families, a ball in the evening), the dance music of the time took over. In late 18th-century Britain, English country dances were still very much in vogue across classes. Additionally, the influence of continental Europe introduced new dances: the minuet was still danced in formal settings, but by the very end of the 18th century, the waltz was making its first appearances in high society. The waltz (a dance in triple time where couples rotate around the room) was considered somewhat daring and modern around the 1800s, but soon became immensely popular. Early on, one might only see it in cosmopolitan circles (perhaps at a London society wedding around 1810, the young guests might try a waltz, which was seen as quite romantic since the couple danced in a close embrace). Over time, the waltz would become a standard first dance for married couples because of its intimate yet graceful nature.
A typical Georgian-era wedding celebration might thus have a mix of refined listening music and participatory dance music. For example, Jane Austen’s novels from the early 19th century (which reflect Georgian-Regency society) often mention music and dancing at gatherings. We can easily imagine Elizabeth Bennet and Mr. Darcy (from Pride and Prejudice) dancing a country dance at a ball that could very well be a wedding ball of a friend – the atmosphere described is lively and filled with music from fiddlers. Similarly, at a countryside wedding, a fiddler or flutist might play lively reels and jigs for the villagers to dance after the formalities, showing how folk tradition persisted alongside the new classical tastes.
One element to note is that live musicians were essentially the only option – thus families placed importance on having competent players. If a family member played the pianoforte, he or she might accompany singers in a favorite song dedicated to the couple. During the late 1700s, a popular tradition in some weddings was for a small group to perform a special song or glee (a glee is a type of English part-song) in honor of the newlyweds, adding a personal touch to the entertainment.
Throughout the Classical era in the UK, the cultural importance of music as a mark of refinement and joy remained strong. Music at weddings was not quite as universal or standardized as the “Wedding March” phenomenon that would soon arrive, but it was ubiquitous in some form. Couples and their families chose music that suited their social standing and personal taste – be it a sophisticated quartet piece or a rustic fiddle tune – to enhance the day’s atmosphere. Across Europe, similar patterns existed: in Vienna, for example, a high-society wedding in 1780 might feature professional musicians playing Mozart’s latest symphony at dinner and then the attendees dancing a Deutscher (an early form of waltz). In essence, the Classical era kept wedding music elegant, balanced, and community-oriented, with few radical departures from Baroque traditions but a gradual inching towards the romantic personalization that the next era would fully embrace.
Romantic Era: The Birth of the Wedding March Tradition
The 19th century (often referred to as the Romantic era in music) brought about some of the most iconic and enduring wedding music practices in the UK. This period, especially the Victorian age, is when weddings became grander and more codified in tradition, and many of those traditions were set to music. Two compositions in particular rose to prominence and essentially defined wedding ceremonies for generations: Richard Wagner’s “Bridal Chorus” and Felix Mendelssohn’s “Wedding March.”
The mid-1800s saw the introduction of the wedding processional and recessional as we know them today. Prior to this, as noted, brides did not always have a special dedicated piece of music to accompany their entrance; that changed dramatically in 1858. In that year, Princess Victoria (the eldest daughter of Queen Victoria) married Prince Frederick of Prussia in London. For her grand royal wedding, the Princess – who was fond of music and opera – made a novel choice: as she walked down the aisle, the orchestra played Wagner’s “Bridal Chorus” from the opera Lohengrin, and after the ceremony, as the newlyweds exited, they played Mendelssohn’s “Wedding March” from A Midsummer Night’s Dream. This royal seal of approval on those pieces quickly transformed them into wedding staples not only in Britain but around the world. Wagner’s “Bridal Chorus” begins with the famous words (in the opera) “Here comes the bride, all dressed in white…” (in English adaptations), and indeed it became synonymous with the bride’s entrance – so much so that generations of brides have walked the aisle to this very melody. Mendelssohn’s “Wedding March” is a jubilant, triumphant instrumental piece that made the perfect recessional (exit) music, sending the couple off in celebratory style.
These pieces were not originally intended as wedding music – Wagner wrote his chorus for a stage wedding scene in an 1850 opera, and Mendelssohn composed his march in 1842 as incidental music to Shakespeare’s play – but their adoption in that 1858 wedding launched a tradition. Soon, every church organist in Britain had sheet music for “Here Comes the Bride” and Mendelssohn’s march at the ready. Throughout the late 19th and into the 20th century, countless British couples followed this example, making these tunes nearly obligatory at ceremonies. The cultural and symbolic importance of this cannot be overstated: the Bridal Chorus ushering in the bride became a moment that encapsulated all the anticipation, joy, and reverence of the wedding day in one swell of music. For the bride, it was her moment of pure spotlight; for the guests, the music signaled “now begins the sacred ritual.” Meanwhile, hearing the Wedding March pipe up at the end of a service was a signal to cheer and celebrate – it was the soundtrack to that first ecstatic moment of being pronounced married and walking out arm in arm.
Besides these two blockbuster pieces, the Romantic era contributed other musical elements to weddings. Many Victorian weddings included beloved hymns and songs that carried sentimental or spiritual significance. For example, hymns like “O Perfect Love” (written in the 1880s specifically as a wedding hymn) or “Love Divine, All Loves Excelling” were popular choices during the ceremony, either sung by the congregation or a soloist. These hymns emphasized the sacredness of love and marital devotion, aligning well with the Victorian ideal of marriage. Another Romantic-era piece that found a place especially in Catholic weddings is Franz Schubert’s “Ave Maria” (1825). Though originally a setting of a German poem, it became musically linked to the Catholic prayer “Ave Maria” and gained popularity as a wedding solo – often sung during the signing of the register or as a meditation piece, its gentle, devotional melody adding a poignant touch to the service.
On the instrumental side, a piece from the late Romantic era that has become a classic wedding choice (though more so in the 20th century) is Charles-Marie Widor’s “Toccata” from his Organ Symphony No.5 (1880). This thrilling, fast-paced organ piece, with its cascade of bright notes, became a favorite recessional in many church weddings – essentially an exciting alternative to Mendelssohn for those wanting something different yet equally grand. British organists in the early 20th century often showcased their skill with Widor’s Toccata to conclude a wedding, a tradition that continues in some ceremonies today.
When it comes to the wedding reception in the 19th century, music continued to play a key role, though the style depended on the setting. In Victorian high society, formal weddings sometimes led to elegant evening balls. By the mid to late 19th century, the waltz was fully established as the fashionable dance for couples. It’s easy to picture a newlywed pair gliding across a ballroom to a beautiful waltz by Johann Strauss (the Viennese “Waltz King” whose pieces like “The Blue Danube” or “Artist’s Life” were internationally beloved by then). The idea of a “first dance” as a specific moment for the bride and groom likely has its roots in this era – in a formal ball, the guest of honor (in this case the married couple) would typically open the dancing with a first turn around the floor. In more modest settings, music at the wedding breakfast or party might be provided by a piano in the home or a small band at a hired venue. Late 19th-century Britain also enjoyed parlor songs (simple, sentimental songs performed in the home); friends might perform such a song in tribute to the couple after dinner. And of course, folk traditions persisted in rural areas – fiddlers still struck up reels for farmhouse weddings, keeping the old country spirit alive even as Queen Victoria’s reign ushered in more formal customs elsewhere.
What remained unchanged in the Romantic era was the essential function of music: to elevate the emotional and social experience of the wedding. Music was used to underscore the most significant moments (entrance, vows, exit) and to encourage social bonding through dance and song afterwards. What did change was the emergence of widely recognized wedding songs that transcended individual weddings and became almost universal symbols. By the end of the 19th century, if someone heard the strains of Wagner’s bridal melody on a church organ, they would instantly think “wedding.” This was a new cultural phenomenon – a shared musical language for marriage ceremonies. It shows how a practice started in the UK (thanks to a royal trend-setter) influenced many European and Western wedding traditions: soon American brides were also marching to Wagner, German brides to Mendelssohn, and so on. The Romantic period firmly established that a wedding isn’t just an event, it’s an occasion that comes with its own soundtrack, rich in meaning and sentiment.
Early 20th Century: Preserving Tradition in a Changing World
As the calendar turned to the 1900s, the world was changing rapidly with new technology and cultural shifts, but early 20th-century weddings in Britain largely held onto the musical traditions handed down from the 19th century. There was a strong sense of continuity: many Edwardian-era (1901-1910) and interwar (1920s-1930s) couples deliberately kept their wedding music choices traditional, perhaps as a way to lend their union the same dignified atmosphere their parents and grandparents had.
In a typical British church wedding from the 1900s through the 1950s, you would still almost certainly hear Wagner’s “Here Comes the Bride” as the processional and Mendelssohn’s “Wedding March” or Widor’s Toccata as the recessional. These pieces had become ingrained as the wedding music. Many couples likely didn’t even consider anything else for those key moments – it was simply expected. Church musicians knew them by heart. In addition, ceremonies prominently featured hymns and organ music. Hymns like “All Things Bright and Beautiful”, “The Lord’s My Shepherd”, or “Jerusalem” were commonly sung by the congregation, reinforcing the communal and sacred nature of the ceremony. The sound of an organ swelling through a church as family and friends sang together was a hallmark of early 20th-century weddings, especially in the UK where hymn-singing is a beloved tradition.
One notable aspect of this era was the influence of recorded music technology just beginning to be felt. By the 1920s and 1930s, phonographs and radios were available, but in church they played no role – live music reigned supreme for ceremonies. However, at home or in reception venues, recorded music started to supplement live performers in small ways. For example, a family might play a favorite love song on the gramophone during a small home reception if no musician was present to perform it. That said, the norm for any sizable gathering was still to hire live musicians.
Wedding receptions in the early to mid 20th century spanned a range from informal tea gatherings to lavish hotel banquets, and music adjusted accordingly. In the 1920s and 1930s, the rise of Big Band and swing music influenced wedding entertainment, especially for evening receptions. It became fashionable to have a live band or orchestra at one’s wedding if means allowed. These bands would play the popular music of the day: foxtrots, tangos, swing numbers – the kind of music couples heard when they went out dancing during courtship. So, a wedding in 1935 might feature a band playing songs by Irving Berlin or Cole Porter for the newlyweds’ first dance. Often the first dance was a romantic slow song or waltz; for instance, “The Way You Look Tonight” (from 1936) or “Night and Day” (1932) could set a dreamy tone as the couple swayed together under the approving smiles of their guests. This era really embraced the concept of a first dance as a highlight of the reception – the moment the couple steps onto the dance floor, music softly starting, then others join in after a verse or two.
During World War II and the 1940s, weddings were sometimes smaller or rushed, but music remained important for lifting spirits. Many wartime brides walked down the aisle to the same trusty Wagner melody (perhaps played on a smaller organ or even just a piano if that’s all the church had), as it symbolized hope and normalcy. At modest wartime receptions, families might make do with a radio playing or a single pianist, but they always tried to include a well-known song for a dance. A song like “We’ll Meet Again” (made famous by Vera Lynn in 1939) might have been played or sung, given its emotional resonance for couples separated by war.
In the 1950s, as prosperity returned, weddings could be more elaborate once more. This decade saw a taste for both classical and popular music at different stages of the event. Traditional ceremonies were still very much the norm – it wasn’t until the late 20th century that couples began to widely depart from Wagner and Mendelssohn in church. But at receptions in the ’50s, one could find a variety of music. Live bands would incorporate the latest hits – perhaps some jazz, swing, or the early stirrings of rock’n’roll by the end of the decade. For example, by the late 50s, a forward-looking couple might surprise their guests by dancing to Elvis Presley’s “Love Me Tender” or a similar popular love ballad at the reception, even if the rest of the program was classical. However, these were still relatively gentle incorporations of pop; the full entry of rock and pop into wedding ceremonies and main events wouldn’t explode until the 1960s.
Throughout the early 20th century, the role of music remained twofold: to lend grace and emotional weight to the ceremony, and to provide joyous entertainment and togetherness at the reception. Live musicians – be it the church organist, a string trio during cocktails, or a dance band at night – were highly valued. Being asked to play at a wedding was an honor and a responsibility (a fact still true today). And even as radios and records began to exist, they were initially used carefully, often just to supplement or when live music wasn’t feasible. Importantly, this era shows a relatively unchanged core of wedding music: if someone from 1900 attended a wedding in 1950, they would find the ceremony music very familiar and appropriate. This speaks to the power of tradition; those Romantic-era choices were deeply entrenched, and the first half of the 20th century mostly preserved them in the UK.
Late 20th Century: From Classical to Pop – A Musical Transformation
The 1960s and onward brought radical changes to nearly every aspect of society, and wedding music was no exception. In the UK, as in the rest of the Western world, the late 20th century marked a shift from strictly traditional music to a blend of classical and popular styles, tailored to personal taste. Couples became more inclined to make their wedding soundtrack reflect their own generation and identity, rather than sticking only to what their parents did. Several factors drove this: the cultural revolution of the 60s, the advent of new technology (high-quality sound systems, portable record players, etc.), and a general trend towards individualism in wedding planning.
One of the biggest developments was the emergence of the wedding DJ and recorded music as a staple of receptions. In the 1960s, the concept of the “mobile disco” took off in the UK – essentially, DJs with their turntables and speakers could be hired to bring a dance party to a venue. This meant that even if a live band was too expensive or not desired, couples could still have continuous music for dancing, spinning the exact records they loved. By the 1970s, hiring a DJ for the evening party became very popular. DJs could provide a wider range of music than a single band might, effortlessly segueing from a rock ’n’ roll number to a soul ballad to a disco hit as the night progressed. The role of live bands didn’t disappear (many couples still enjoyed the energy of live performance), but bands often coexisted with DJs or gave way to them entirely, especially as we moved into the 1980s and beyond.
As for the ceremony music, by the late 20th century we see more flexibility, though tradition remained strong. Church weddings still often used the classic Bridal Chorus and Wedding March, but it became increasingly acceptable to choose alternative classical pieces or even contemporary songs, particularly for civil ceremonies (weddings outside of a religious context). In the UK, a civil wedding (conducted by a registrar) has regulations that forbid religious content, but couples interpret that creatively by using secular music of their choice. For example, a pair of Beatles fans in the 1970s might walk out of their civil ceremony to “Here Comes the Sun” or have a friend sing “All You Need Is Love” during the signing of the register – something that would have been quite unusual a couple of decades earlier. Even some church weddings in the late 20th century began incorporating modern Christian music or instrumental versions of pop songs, as long as clergy approved.
During the 1960s and 70s, there was a clear infusion of pop culture into wedding playlists. Many brides still honored the tradition of entering to “Here Comes the Bride,” but you would also find those who opted for something like Pachelbel’s “Canon in D” as an alternative processional. Interestingly, Pachelbel’s Canon, a Baroque piece from around 1700, saw a huge resurgence in popularity in the 1970s after a recording of it became famous. It quickly became a wedding favorite for those who wanted a classical-sounding, elegant processional that wasn’t the same as their mother’s. On the other hand, couples who wanted to reflect the spirit of the 60s sometimes chose love songs of that era to include in the ceremony or reception. “Can’t Help Falling in Love” by Elvis Presley (1961) emerged as a timeless wedding song – perhaps sung at the ceremony or chosen as the first dance. Likewise, “At Last” by Etta James (1960), with its slow, soulful declaration of long-awaited love, became a staple first dance song that has stayed popular through the decades. These songs captured the emotion of the day in a modern idiom.
The 1970s brought in rock and folk influences – it wasn’t unheard of for a bride and groom to recess from the church to a jubilant pop song played by the organist or a tape over the sound system. Some even used songs from musicals or movies that were meaningful to them. And at receptions, the repertoire expanded tremendously. The 1970s were the age of disco, and British wedding parties eagerly embraced it. After the formalities, you’d find guests boogying to ABBA, the Bee Gees, and Gloria Gaynor’s “I Will Survive” at wedding halls across the country. Dancing became even more central to the reception’s success – it was the era of truly letting loose on the dance floor, and the music reflected that upbeat, liberated mood.
Moving into the 1980s, the trend of personalization and modernization continued. A lot of couples still married in churches and may have clung to the classical standards at the ceremony, but it became equally acceptable to incorporate new favorites. For instance, some church brides walked down the aisle to the lush soundtrack piece “Theme from Titanic: My Heart Will Go On” (late 90s) or Pachelbel’s Canon or another classical piece of their choosing. The key was choice – couples felt empowered to choose what felt right for them, whether it was traditional or not. Reception music in the 80s and 90s was dominated by pop, rock, and later R&B hits. Tunes like “Celebration” by Kool & The Gang, “Dancing Queen” by ABBA, Whitney Houston power ballads, and eventually ’80s rock anthems (think Journey’s “Don’t Stop Believin’”) turned weddings into all-ages dance parties. Also, the concept of theme weddings emerged; music was used to set a specific tone or theme – for example, a couple might have a retro-themed wedding with a ’50s rockabilly band, or a Highland-themed wedding with a live bagpiper (reviving that Scottish tradition of bagpipes leading the couple, to ward off spirits and honor heritage).
A notable change in late 20th century wedding culture was the timing and structure of musical moments. Weddings expanded from a single day event to a whole sequence of events, each with music. For example, the ceremony prelude(music while guests are being seated) might be a playlist of the couple’s favorite classical pieces or love songs. The cocktail hour (if the reception had one) often featured light jazz or acoustic tunes in the background. The dinner portion of the reception could have softer crooner classics or instrumental music so people could talk. Then the dancing portion kicked off with the formal dances: first dance, maybe a father-daughter dance, mother-son dance, etc., each usually set to a song chosen specifically for its lyrics and significance. These formal dances became more codified in late 20th-century wedding itineraries, and picking the songs for them is a major decision for many couples. For instance, a bride in 1995 might share a dance with her father to “The Way You Look Tonight” (a classic standard) or perhaps to a contemporary song they both love – the key is it’s personalized.
By the 1990s and into the 2000s, personalization was truly the name of the game. Some couples still adored the traditional marches and used them; others charted a completely new course, perhaps having a string quartet play a pop song arrangement for the bridal entry (imagine a string version of “Here Comes the Sun” or Pachelbel’s Canon moving seamlessly into a favorite pop melody). Civil ceremonies in particular saw an explosion of creativity in music selection, from movie themes (Braveheart or Gladiator love themes, for example) to chart-topping ballads by artists like Celine Dion or Ed Sheeran (who came a bit later, in the 2010s, but illustrates the trend of each decade’s love songs finding their way into weddings).
Crucially, what changed in this late 20th-century period was the mindset: music at weddings was no longer just following a template; it became a form of self-expression for the couple. Yet, at the same time, couples often kept some elements unchanged – many still valued the dignity of a classical piece in the ceremony or included a hymn to honor family traditions or religious faith. And almost everyone still agreed that some music should be uplifting and timeless (hence why songs like “At Last” or “Can’t Help Falling in Love” endured across decades). So, the late 1900s were a dynamic period where the old and new mixed: one wedding might look very much like a 1950s one musically, while another was completely contemporary. The common denominator was that music remained central to creating the atmosphere – whether that atmosphere was elegant, funky, sentimental, or fun.
21st Century Weddings: Personalization and Cultural Fusion
Stepping into the 21st century and up to the present day, wedding music in the UK has become more diverse and personalized than ever, while still anchored by some of the traditions we’ve traced through history. Today’s couples often approach their wedding like curators of a soundtrack that reflects their identities, tastes, and even multicultural backgrounds. The range of music that might be heard at a modern British wedding is incredibly broad – from centuries-old hymns to the latest pop hits, and sometimes both in the same ceremony.
One noticeable shift is the continuation of the trend towards personalization. Couples frequently choose unique songs for key moments that have special meaning to them, rather than defaulting to tradition unless they want to. For example, some brides and grooms still love the drama of Wagner’s “Bridal Chorus” on the organ and keep that as a nod to tradition, but many others opt for a song that resonates personally – this could be an instrumental version of a favorite pop song as the processional or a gentle contemporary piece. It’s not unusual now for a bride to walk down the aisle to a recording of a beautiful film score (imagine the bride’s entrance accompanied by the sweeping strings of the Pride & Prejudice movie theme or a piano rendition of “All of Me” by John Legend). In civil ceremonies, you might even hear the original vocal track of a meaningful pop song for the entrance. The important thing is that the music feels right to the couple and sets the desired mood, whether that’s traditional, modern, or a blend of both.
Technology in the 21st century has further empowered this customization. With smartphones and streaming, couples can easily compile playlists for various parts of the day and share them with their venue or DJ. The quality of portable sound systems also means that even if a couple has a ceremony in a non-traditional venue (say, a beach, garden, or historic manor house), they can still have their chosen music played clearly. Many live musicians have also diversified – string quartets these days proudly advertise that they can play everything from Vivaldi to Coldplay. So a string quartet at a ceremony might segue from Pachelbel’s Canon for the bridesmaids into an arrangement of “Thinking Out Loud” by Ed Sheeran for the bride, giving a modern twist on a classical format.
The wedding reception in contemporary times often features a dynamic mix of music. Early in the reception, during cocktails or dinner (often referred to still as the wedding breakfast even if it’s an evening meal), couples might choose mellow background music. This could be jazz standards (Frank Sinatra, Ella Fitzgerald tunes remain popular for classy ambience) or acoustic covers of pop songs. Live performers like pianists, acoustic duos, or even harpists are sometimes hired to add an elegant touch during the meal without overwhelming conversation. It’s all about creating a pleasant atmosphere for guests to mingle.
Once formalities like speeches and the cake cutting are over, the evening party usually kicks into high gear. DJs remain extremely popular and are often seen as essential – they carry the responsibility of reading the crowd and keeping the dance floor alive with a curated playlist that spans eras and genres. A modern wedding DJ’s set might start with some golden oldies to entice the older generation (for instance, tossing in The Beatles, Motown hits like “My Girl” or soul classics to get mum and dad dancing), then transition into current chart-toppers or club hits as the night goes on. In the 2010s and 2020s, songs like “Uptown Funk” by Bruno Mars, “Shape of You” by Ed Sheeran, or communal favorites like “Mr. Brightside” by The Killers often make an appearance, because they get guests singing along and jumping in unison. Meanwhile, many couples also love to include a few throwback hits from the 80s or 90s (especially if that’s their childhood or teenage era) – it’s not uncommon to see a group of friends belting out Bon Jovi’s “Livin’ on a Prayer” or Spice Girls at a wedding party nowadays. Essentially, the reception playlist has become an artful mix intended to please a multi-generational crowd and reflect the couple’s story (maybe including the first song they danced to when they met, etc.).
Another hallmark of modern weddings is the inclusion of diverse cultural music elements, especially in a multicultural society like the UK. If the couple (or their families) come from different cultural backgrounds, they often make a point to honor those with music. For example, at a fusion wedding, you might witness an Indian Bollywood dance song or Punjabi bhangra during the party to celebrate the bride or groom’s heritage, or perhaps a traditional Irish folk song if one of them is Irish, to which everyone might join in a ceilidh dance (guided group folk dancing, which has actually become quite popular at many UK weddings regardless of whether the couple is Irish or Scottish – it’s a fun icebreaker). Jewish couples marrying in the UK often incorporate the Hora, with the famous song “Hava Nagila” playing as everyone dances in circles and lifts the couple on chairs – an old tradition that is joyous and still very much alive. Scottish weddings frequently have a bagpiper lead the newlyweds out or into the reception, a dramatic and stirring touch that connects to deep national tradition. These cultural musical elements add a personal and often emotional dimension, reminding everyone that a wedding is also about two families (and sometimes two cultures) coming together.
The balance of live versus recorded music nowadays tends to be: live music for the ceremony and sometimes cocktail hour; DJ (recorded music) for the main dancing portion. However, many couples mix it up – some hire a live band for the reception who can cover a range of songs. A live wedding band in 2025 might play a setlist that goes from The Jackson 5 to Dua Lipa to classic rock – essentially mimicking a DJ’s breadth but with the energy of live performance. There’s also a trend of having specialty acts, like a saxophonist or percussionist who plays alongside the DJ, adding a live improvisational vibe to the DJ’s tracks. So, the old dichotomy of band vs DJ has evolved into creative combos.
One thing that has remained a constant into the modern day is the significance of the “first dance”. Couples typically choose “their song” – it could be a tender ballad that was playing when they first said “I love you,” or lyrics that speak to their journey. This song choice is often kept secret until the day and is one of the most personal musical selections of the wedding. The moment when the floor clears and the newlyweds sway (or perform a rehearsed routine!) to their first dance song is always a heartwarming highlight, just as the elegant couple dances were in centuries past. After that, of course, the floor opens and everyone joins, echoing the medieval and Renaissance tradition of all guests eventually joining in the dance.
In summary, contemporary UK weddings are a rich tapestry of music that draws from the past and present. You might hear Pachelbel’s 17th-century Canon during the vows and an Ed Sheeran hit during the cake cutting. You could see a Victorian church hymn followed by a Bollywood dance number at the reception. The possibilities are wide open. Yet, despite all this variety, certain elements are timeless: music remains the emotional heartbeat of the wedding day. It underscores the sacredness of the moment two people commit to each other, and it fuels the celebration that follows. Couples today still often find that as they plan their wedding, choosing the music is one of the most enjoyable and important tasks – because they know these tunes will forever bring back memories of their day. From medieval chants to modern DJ beats, wedding music continues to be about celebration, unity, and the personal love story of the couple. Each era has added layers of meaning and options, but the core – music as a companion to matrimonial joy – is an unbroken tradition.
Conclusion: The Enduring Power of Wedding Music
Tracing this journey from the Middle Ages to today, we see that while the styles and settings of wedding music have evolved, its fundamental role has not. In medieval times, music blessed the union and then kicked off the village celebration; in the Renaissance and Baroque eras, it navigated between religious solemnity and secular joy; by the Romantic period it produced universal wedding anthems; and in the modern age it has become a customized signature of a couple’s union. Throughout, wedding music has carried deep cultural and symbolic importance – it’s never “just background noise.” Whether it’s the lofty echoes of a church organ or the catchy chorus of a pop hit that gets everyone singing along, the music chosen for a wedding touches the emotions of everyone present and often reflects broader social trends of the time.
In the UK, with its mix of tradition and trend-setting, wedding music encapsulates that balance: one foot in beloved tradition (a church hymn or a classical string piece) and one foot in contemporary life (a personal playlist or modern band). European influences have continually flowed into this mix – from the chants of Rome, the dances of the Renaissance courts, the compositions of German masters, to the global pop songs of today – creating a rich musical heritage for British weddings. And while technology and tastes will surely continue to change how weddings sound in the future, it’s a safe bet that couples will always have some special song to walk down the aisle to, and that friends and family will always join hands to dance in celebration. The context may change, but the joyful impulse to express love through music at a wedding is here to stay, connecting us with generations past and those yet to come.
