TV Reviews: Granite Harbour, The Piano, and The Crow Girl

TV Reviews: Granite Harbour; The Piano; The Crow Girl

London, United Kingdom Jul 27, 2026 ALN: This television critic lark is a fleeting game. You land briefly on a show, have a look around, deliver a verdict and that’s that. Next.

With so many new programmes every week it is rare to revisit anything, but for Granite Harbour (BBC Scotland, Thursday, BBC One, Friday), now in its third series, I make the effort. It’s a tradition, like Christmas, and you know how that can be.

Ex-Royal Military Police officer-turned-DC Davis Lindo (Rosario Simpson) is enjoying life in Scotland, despite being surrounded by grumpy colleagues. His police partner, DS Bartlett (Hannah Donaldson), used to be cheery, sort of, but now feels the weight of promotion on her shoulders. DCI Cora Macmillan (Dawn Steele) is also quick to show her carnaptious side.

But first prize for being ratty goes to Chief Constable Alan Willis. The fact that he is played by John Gordon Sinclair, sweet, kind Gregory from Gregory’s Girl, only adds to the jarring effect. It took a while to recognise him under the snowy hair and beard, but the twinkle in the eye is just the same.

At first the story was almost secondary to the goings on at the police station. A young woman from the traveller community had been found in the woods at the bottom of a steep drop. Did she fall, was she pushed, and could the community put aside their suspicions of the police to find the possible killer?

By episode end, normal crime drama order had been restored and a pretty decent cliffhanger was in place. Now all the show needs to work on is the clunky dialogue, lethally slow pace, and those torn faces.

Glasgow’s Central Station holds a special place in the annals of The Piano (Channel 4, Sunday). It was not the first UK station to host the competition for amateur pianists, but it proved to be where the show came alive for viewers and critics alike.

A homecoming of sorts was planned for presenter Claudia Winkleman and singer-songwriter Mika. Or it would have been had “events” not intervened.

“The Piano was on its way to celebrate the incredible amateur pianists of Scotland,” Winkleman told viewers. “We were headed for Glasgow's stunning Central Station, but had to change our plans. A huge fire destroyed a neighbouring building. Luckily, no one was hurt, but Glasgow Central had to be closed. Fortunately, the busiest station in the country saved the day.”

Cast and crew were relocated to London Liverpool Street instead. For one musician from the Isle of Lewis, the diversion added 400 miles to an already long trip.

Jamie Cullum, this week’s guest mentor, did not think the city switch would be a problem.

“When you sit down at the instrument, it's a familiar place wherever it is. Whether you're in Glasgow or you're in London, it will hopefully feel like some form of home and they'll get a great reaction, I'm sure.”

First on the bill was Callum, 19, from the Highlands, who played traditional Scottish music adapted for the piano. Both mentors were keen to hear how the fiddle-heavy music would translate.

“Wow,” said Cullum. “I love how the intensity is just growing and growing.”

“It's got this rock spirit,” said Mika. “It's like if Pete Townshend was playing the piano.”

Next was Jim, 84, from Aberdeen. He was wearing a T-shirt that read: “Never underestimate an old man who loves playing the piano.”

The song was New York State of Mind.

“He doesn't just love the piano, he can play it,” said Cullum. “He's taken this really familiar tune and he's using it as a jumping-off point to take him where he wants to go.”

By now crowds were gathering on the concourse and the walkways above. “Biggest crowd ever,” said Winkleman.

“That was beyond my wildest dreams that reception,” said Jim.

Third along was Gabby, who lives in Edinburgh with her husband, daughters and two cats. The family moved to Scotland from Mexico because of her husband’s job. The only way they could afford to bring the cats as well was to sell Gabby’s beloved piano.

Her piece, by Mexican composer Julio Ituarte, was played in the “piano breaker” style, so-called because of the dramatic way the pianist hits the keys.

“She has an elegantly flamboyant technique,” said Cullum. “It's not for the sake of it. It's part of the dance of her hands on the keys.”

Bob and his wife Katy had made the journey from Glasgow with their four-month-old son.

Not long after starting university, Bob had an operation to remove a brain tumour and lost the use of his right hand.

“My professor said he had heard of a left-hand piano repertoire. It was very difficult, but what choice did I have?”

Bob played the first piece he had come across as a left-handed pianist, Alexander Scriabin’s Nocturne for the Left Hand.

Cullum was familiar with the composer; Mika was not. Every day is a music school day on The Piano.

“It's really beautiful to watch,” said Cullum.

The last hopeful was Sophie, a 14-year-old from Nairn whose voice only just stopped short of blowing the roof off. Watching her were her mum and dad (happy tears) and twin brother Archie (playing it cool but beaming with pride).

Now it was time to pick a finalist. Spoiler ahead.

“All of you were such a privilege to watch,” said Cullum, before telling a shocked Gabby she was heading to Symphony Hall, Birmingham, for the final.

“I need to start believing more in myself,” she said.

The Piano will do that to a musician, whether it takes place in Glasgow Central or London Liverpool Street.

There was a winning moment in Scandi-noir chiller The Crow Girl (5, Monday-Wednesday) when the main women protagonists, one a Detective Chief Inspector (DCI), the other a psychotherapist, meet for the first time in a lift. The latter has been messing with the call button, and now instead of going up, a narked DCI is heading down.

She remonstrates with the passenger, who tells her coolly that she could always use the stairs. Ouch. “I hate people like that,” says the cop to her colleague, DI Lou Stanley.

Stanley is played by Dougray Scott, his boss, Jeanette Kilburn, by Eve Myles, and the sarky Dr Sophia Craven by Katherine Kelly. It’s a bad day if those three cannot tempt you to take a punt on a crime drama.

Eric Axel Sund’s The Crow Girl has been adapted for the screen by Milly Thomas (Woman in Gold). Stockholm has been swapped for Bristol; otherwise the fundamentals of the tale remain the same.

After the body of a boy is found dumped among bags of rubbish, Kilburn and Stanley are sent to investigate. She sees a possible link to a paedophile under investigation, one currently being assessed for the courts by Dr Craven. It would help if the DCI and the therapist could work together, but there was “that” lift incident. Fortunately, both are grown women able to laugh (or in Dr Craven’s case smile enigmatically) at the verbal tussle and crack on.

There must be something about playing a barmaid in the Rovers Return that prepares an actor for a life of fictional crime fighting. First it was Sarah Lancashire (Raquel as was) moving to Happy Valley, then Katherine Kelly was a DCI in Protection, followed by this six-parter.

Much to recommend, then, in the cast of The Crow Girl. Add to this a fog of intrigue, a sense of bigger things happening beyond the detectives’ ken, and it is little wonder this was a hit with viewers when it first aired on Paramount+ (series two is now underway on the streaming service).

It was the women characters who made The Crow Girl so compelling. Both Jeanette and Sophia are obsessed with their jobs, to the point where almost everything else seems to take second place. In short, they get to act like men. No wonder they become friends.

If Dougray Scott’s character were played by anyone else, he wouldn’t get a look in. Instead, he’s an essential part of the mix, with the scenes between Lou and Jeanette a treat.