Most Britain’s Got Talent contestants walk onto the stage hoping to prove that they can follow the latest musical trends. Maarty Broekman arrived determined to travel in the opposite direction. During his 2013 audition, Maarty appeared with a keytar, a flamboyant retro outfit and a clear mission to revive the sights and sounds of the 1980s.
The official Britain’s Got Talent video presents the performance as his attempt to win over judge Alesha Dixon with his unusual instrument and playful personality. From the moment he entered the theater, Maarty did not behave like a nervous unknown contestant. He appeared completely convinced that synthesizer-driven pop, theatrical fashion and portable keyboards were ready for a major comeback.
That confidence helped transform a strange musical idea into a highly entertaining television moment. A Keytar Took Center Stage A keytar combines an electronic keyboard with the portable shape and freedom of a guitar. Instead of remaining behind a traditional keyboard stand, the musician can move around the stage while playing. The instrument became strongly associated with electronic pop and rock performers during the 1980s. For Maarty, however, it was not simply a nostalgic prop.
It became the centerpiece of his entire performance. His clothing, exaggerated movements and electronic sound all supported the same retro concept. The act felt less like a conventional singing audition and more like a character arriving from an old Euro-pop music video. Maarty’s unusual approach immediately separated him from the more traditional singers appearing on the show. The Performance Became a Playful Attempt to Charm Alesha Maarty directed much of his performance toward Alesha Dixon, adding a flirtatious comedy element to the music. ITV described the audition as his attempt to “woo” Alesha with the keytar. The playful interaction gave the act a clear story: Maarty was not merely singing an eccentric song—he was using the performance to win the judge’s attention. The audience responded to his enthusiasm, while the judges appeared divided over whether they were watching genuine musical brilliance or an act that was simply too bizarre to ignore. That uncertainty became part of the entertainment. Maarty appeared completely comfortable with the unusual nature of his act. He did not apologize for the keytar, reduce his theatrical style or attempt to perform like a conventional pop singer. Instead, he committed fully to the world he had created.
