Interview with Max Davidson

Ahead of bringing Strangers to the Edinburgh Festival Fringe, I caught up with magician and mentalist Max Davidson to discuss mind reading, audience psychology, endurance, and why interactive magic creates such unforgettable experiences. Following successful US tours and a previous Fringe run, Davidson returns with a solo show promising impossible predictions, personal revelations, and a finale that changes completely every night depending on the audience in the room.

Strangers feels like a very human title for a mind-reading show. What does it represent to you?

Ultimately, the show is made of a collection of strangers! And I’m fascinated by

how quickly we can go from strangers to (at least a version of) friends during the

show. There’s enough technology in our daily lives—I'm thrilled that the show is a

very human antidote to the isolation that feels so prevalent in our daily lives.

Your performances rely heavily on audience interaction and spontaneity. Does that unpredictability excite you or terrify you?

It excites me! I’m so lucky that my shows are never on autopilot because of how big

a role the audience plays. The interaction with the audience makes the show—I really hope that they get to be the stars.

Mentalism often feels more intimate than traditional magic. What draws you specifically to this style of performance?

Ultimately, it’s because mentalism deals with information and words. I’ve always

loved the power of words—from high school debate, to the Substack I write weekly, to the shows I do. There’s no fancy props or smoke machines to hide behind—it's just me, the audience, and some simple set pieces that I purchased at staples.

At what point did you realise audiences weren’t just interested in tricks, they wanted emotional connection and shared experiences?

I was 19, doing my first ever theater show, and I just started to write these elaborate introduction to my routines. In hindsight, they were way too heavy handed! But I

noticed a spark—the audience responded well not just to the magic, but to the

entire experience.

With a few years performing in New York, I learned to inject humor and selfdeprecation into my premises, and now I think the stories compliment the magic—

while still letting the magic take center stage.

The idea of guessing someone’s phone password is unsettling to some people. Do audiences ever become nervous during the performance?

I think some people do, but it’s usually a sort of playful fear. I’m a pretty

unassuming guy, and I’ve never considered myself intimidating in any way. I also go

through a great deal to make sure the audience is comfortable. There’s so much

that I’m paying attention to behind the scenes to make sure that I’m only revealing

information people consent to—a lot of whispering off-mic, etc, just to make sure

that my participants feel ok. And if anyone is ever too nervous, I make sure they

know that they’re more than welcome to sit comfortably in their seat and watch!

What’s the biggest misconception people have about mentalism?

The biggest misconception about mentalism is that it’s real. It’s not real. I use

magic tricks, sleight of hand, and psychology to create the illusion that it’s all

happening for real. The fact that it is entirely secular and explainable is precisely

what makes it so interesting.

You’ve performed at places like Magic Castle and Caesars Palace. How does performing at the Edinburgh Fringe compare to those spaces?

It’s definitely grittier! And I think it’s important for performers to learn how to load in and out quickly, flier, advocate for themselves, and compete with top-notch

shows for a month.

Your work seems rooted as much in psychology and observation as it is in illusion. Are you fascinated by human behaviour offstage too?

Totally. Humans are so interesting—and the show is a wonderful microcosm where

we get to think about that for an hour.

How do you keep a show fresh when audiences return already knowing your reputation?

If anything, an audience knowing my reputation is really helpful—I think it makes

them anticipate the show more. So, if they want to google me, that’s all good in my

book.

You also have a background in endurance sports. Is there a connection between the

two?

Totally. It takes a ton of time to be good at anything, and that’s especially true in

endurance sports, where one of the best predictors of speed and ability is sheer

volume.

With magic, my job is to get as many reps (shows, performances) as possible, and

when I run, it’s to stack up as many miles as I can without injury.

I could go on about the parallels for a long time, but the short answer is—settle in at

a relaxed pace and prepare for the long haul, because we’re gonna be here for a

while.

What do you think audiences secretly want from a magic show in 2026?

They want to be seen, and that’s why mentalism is so popular. It’s literally someone revealing your inner thoughts. Think about how often we want our partner or friend to just look at us and understand us. Going to a mentalism show lets the audience know that they’ll be seen and that their choices will have an impact on something important—feeling agency is very satisfying.

If audiences leave the show questioning one thing about themselves or the world, what would you want it to be?

I hope they question what they pay attention to, because I’m asking myself that question constantly. Is what I’m actively paying attention to worth my time? If not,

can I shift it to something that matters?

A huge thank you to Max Davidson for taking the time to chat with me about Strangers: combining mind reading, audience interaction, and astonishing feats of mentalism, this sounds set to be one of the Fringe’s most unforgettable interactive experiences.

Strangers runs at Edinburgh Festival Fringe from 6–30 August at Just The Tonic at The

Subway. Tickets and further information can be found via: