Category: Live Reports (Page 10 of 36)

RAMMSTEIN Live at Stadium MK

13 July 2019 /


If you’ve ever been fortunate enough to see German Industrial rockers RAMMSTEIN tour in the past, the main question you will end up asking yourself is “will they be able to top their previous show?”.

The answer to that question after ELECTRICITYCLUB.CO.UK witnessed their only UK date this year was a resounding “ja!”, but more about that later…

An early arrival at the Stadium MK was greeted with the sight of an enormous part ‘Mad Max’, part Fritz Lang inspired stage set which immediately reassured the gig goer that this band WOULD be able to fill and deliver to a 20,000+ venue.

The warm-up was by pianist duo DUO JATEKOK who (set up on a podium midway in the standing area) treated the crowd to an eight song set from RAMMSTEIN’s ‘Klavier’ album for two pianos and four hands. The piano versions that the duo delivered showcased RAMMSTEIN’s songs in a different light and revealed unheard layers which aren’t always immediately apparent in their bombastic guitar-driven incarnations. After a crowd sing-along to ‘Sonne’, DUO JATEKOK disappeared from their podium and the sense of expectation in the crowd for the headliners was palpable…

The strains of Handel’s ‘Music for the Royal Fireworks’ was accompanied by the raising of a digital RAMMSTEIN flag on the central structure within the stage design. Drummer Christophe Schneider took to the stage first, raised both arms, hit his drums and an earthshaking barrage of fireworks exploded across the stage.

Entering one by one, the band started their set with the downtempo ‘Was Ich Liebe’ from their eponymous new album; keyboardist Christian ‘Flake’ Lorenz dressed in a fetching shiny gold outfit (which from a distance made him look like C3PO) and bassist Oliver Riedel in a red cat gimp suit. This was a very different set starter than previous UK shows and for RAMMSTEIN could even be classified as ‘understated’(!).

Normal service was resumed when the marching sample of ‘Links 2-3-4’ filtered through the PA system and the band’s signature twin guitar attack was back with a vengeance. For a band well known for their pyrotechnic usage, RAMMSTEIN held back the fire and flames until later on in the set, but for the MK crowd this didn’t matter one iota when most of the songs had their own stunning individual theatrical set-pieces.

From ‘Puppe’, which saw vocalist Till Lindemann wheeling out a huge metal pram replete with a disfigured animatronic baby (which he duly set on fire), through to ‘Mein Teil’ with a giant cooking pot which revealed ‘Flake’ who is well known as the band’s ‘whipping boy’. At the song’s climax, Lindemann brought out progressively larger flame-throwers until he was left with what could only be described as a giant artillery fire cannon which left the poor synth player (now wearing a full fire-retardant suit) waving the white flag of defeat.

So what was new? The single ‘Deutschland’ provided an epic highlight of the midpoint of the set; starting with Richard Z. Kruspe’s dance remix being played from a DJ booth which was raised like a flag in the middle section of the set. The remaining members of the band then donned black bodysuits with hoodies which subsequently lit up as stick men and delivered a comical dance routine through the remainder of the song. The usual band version of ‘Deutschland’ was delivered afterwards, showing that the band was willing to take risks and not just stick with their tried and tested stage dramatics.

Their new album is arguably their most synth / sequencer-oriented since the band’s first two hybrid electronic metal albums ‘Herzeleid’ and ‘Sehnsucht’. The recent single ‘Radio’ is a case in point, which as well as being very synth dominated, is also one of the band’s catchiest earworm singles for many a year.

The band’s main signature synth / guitar track ‘Du Hast’ was the first in the set to fully feature a blitzkrieg of fire effects with keyboardist Flake delivering his Nord keyboard parts whilst on a moving treadmill which was introduced on the band’s last world tour. Structures set further back in the arena also set off pyrotechnics in case you didn’t feel the full force of those set off on stage; this truly was a mind-blowing immersive experience which was continued with the next track ‘Sonne’.

After a full band version of ‘Ohne Dich’, the five members of the band then re-appeared on the podium / pilot stage with DUO JATEKOK to play an acoustic ‘Engel’, the lyrics running Karaoke-style on the stage that they’d just left. The next part of the show was a moment of pure theatre with the band (minus Lindemann) jumping into three rubber dinghies and ‘boat-surfing’ across the MK crowd and back to the stage. Lindemann then re-appeared there to greet them with a “Willkommen” sign, providing one of the few moments of political commentary within the show.

Appropriately the next track to be delivered was ‘Ausländer’ (‘Stranger’); this song has provoked some frenzied Reddit debate as to its meaning and depending on your viewpoint, it’s either a commentary on the refugee crisis or sex tourism. But as usual with RAMMSTEIN lyrics, they are deliberately left open to (mis)interpretation! In terms of song omissions in the set, only two were missed, ‘Feuer Frei!’ and ‘Keine Lust’, both previously long-term set favourites, but probably maneuvered out to make room for some of the RAMMSTEIN’s newer material.

Sadly, all good things must come to a (fiery) end and the band climaxed their MK show with versions of ‘Du Riechst So Good’, ‘Pussy’ (with Lindemann shooting a massive foam cannon into the crowd), ‘Rammstein’ and ‘Ich Will’. Truly no other band can compete with RAMMSTEIN for a show of this scale and although it would be easy to stereotype them as ‘just a Metal act’, the diversity of the crowd at Milton Keynes disproved this, with ages from 8 up to 60 somethings present.

It is a cliché, but this is a bucket list band to see before you die and one that you should beg, steal or borrow to get a ticket for; don’t quibble on ticket prices, you will NOT be disappointed and you will get a stadium-sized show in a stadium. At this point in time, RAMMSTEIN unquestionably provide the greatest live show on the planet…

‘Rammstein’ is released by Universal Music Group and available in various formats

https://www.rammstein.de/en/

https://www.facebook.com/Rammstein/

https://twitter.com/RSprachrohr

https://www.instagram.com/rammsteinofficial/

Text and Photos by Paul Boddy
13th July 2019

MAPS Live at The Southbank Centre

7 July 2019 /

MAPS gigs are as rare as hen’s teeth (especially in the capital) and tonight’s gig at The Southbank Centre attracted a bit of a Mute Records “who’s who” with DEPECHE MODE producer / engineer Gareth Jones and Polly Scattergood both in the audience.

The man behind MAPS, James Chapman recently released his fourth album ‘Colours. Reflect. Time. Loss’ which saw a massive direction change from the electronics-based ‘Vicissitude’; the new work seeing the synths and drum machines being mainly replaced by live drums, strings and brass.

There was an expectation that tonight’s sound would be dictated by the new MAPS aesthetic. But from the off, it was apparent that this was going to be a ‘rock’ gig with the orchestral instrumentation being absent, Chapman’s live synth / Korg Electribe / guitar set-up was augmented by drums, bass and ably flanked by Cecilia Fage (vocals + percussion) and Rachel Kenedy (vocals + synth).

The Southbank set spanned three of MAPS’ four albums with ‘Turning the Mind’ being the only work to be overlooked. Kicking off with ‘Surveil’ and ‘Both Sides’ from ‘Colours. Reflect. Time. Loss.’, Chapman created a carefully controlled wall of sound with the newer tracks arguably sounding even stronger than their recorded versions.

The show’s psychedelic visuals were worthy of a mention with microphone stand mounted mini-camera feeds being warped in real-time and projected onto the screen behind. MAPS debut Mercury Prize nominated album was well represented with ‘So Low, So High’ getting an early airing; listening to this track now, it still sounds like a Glastonbury anthem waiting to happen and it would be a criminal shame if Chapman doesn’t get some festival appearances as a result of his performance here.

Midway through the main set saw two tracks back-to-back from ‘Vicissitude’, ‘I Heard Them Say’ and ‘You Will Find a Way’. Both tracks translated incredibly well to the live stage with Fage and Kenedy’s providing some quite beautiful harmonies to back up Chapman’s lead vocals which at times evoked those of THE STONE ROSES’ Ian Brown.

The looping shuffle of ‘It Will Find You’ climaxed what felt like an all-too short set and the band disappeared literally for a couple of minutes before returning for a two song encore. ‘Liquid Sugar’ and ‘In Chemistry’ drew the evening to a close and the Purcell Room crowd were left wanting more. Chapman appeared visibly moved by the reception and spent time after the show mingling with the audience and signing albums.

Even after thirteen years, MAPS still remain Mute Records best kept secret; criminally overlooked and deserving of a much wider audience. Hopefully the success of this show will see Chapman and his band taking to the stage far more frequently as he now has a band that is tailor-made to interpret his tracks live.

If you get a chance to catch MAPS in future, don’t pass up the opportunity to catch this consistently innovative and brilliant musician / performer.

Special thanks to Sarah Pearson at Wasted Youth PR

‘Colours. Reflect. Time. Loss.’ is released by Mute Artists in CD, white vinyl LP and digital formats

https://thisismaps.com/

https://www.facebook.com/MapsMusic

https://twitter.com/thisismaps

https://www.instagram.com/thisismaps/

http://mute.com/features/maps-colours-reflect-time-loss

Text and Photos by Paul Boddy
7th July 2019

An Afternoon with STEPHEN MORRIS

15 June 2019 /

Stephen Morris is best known as the drummer of JOY DIVISION and NEW ORDER.

Together with Ian Curtis, Peter Hook and Bernard Sumner, JOY DIVISION had released just one album ‘Unknown Pleasures’ in June 1979 before the untimely death of Curtis in May 1980. Following the posthumous release of their second album ’Closer’, the remaining trio continued as NEW ORDER with the addition of Morris’ girlfriend and now-wife Gillian Gilbert.

ELECTRICITYCLUB.CO.UK interviewed Stephen Morris in March 2011, a few months prior to the relaunch of NEW ORDER, and his informative humorous conversion remains one of the site’s most popular interviews. So an autobiography by the man who wanted to be a human drum machine was always bound to be an entertaining read.

‘Record Play Pause: Confessions of a Post-Punk Percussionist Volume 1’ is part memoir, part aural history and captures a dual narrative of growing up in the North West of England during the 1970s, while providing knowledgeable observations on the dynamics of music and the politics behind being in a band. It naturally also gives a first-hand account on the myth and haunting legacy of JOY DIVISION, while maintaining Morris’ noted wry and witty sense of humour.

Introduced by BUZZCOCKS manager Richard Boon who recalled how he tried to get the then-punk band called WARSAW to change their name to STIFF KITTENS, Morris was interviewed on stage by The Guardian’s music critic Jude Rogers about his book as part of the Stoke Newington Literary Festival.

Morris told her that he wanted initially to write a Russian novel only he couldn’t speak Russian and what he wrote was “sh*t”, so he settled on doing something to di-mythologise JOY DIVISION, something which he said was “never black and white”, because the public thought the band lived in the snow, while they actually having a laugh in the pub as were most ordinary young men of the period. Throughout his insightful Q&A, Morris was friendly and down-to-earth, occasionally offering a cynical and sarcastic take on his life.

With his book recalling a childhood of daily school milk rituals, Airfix kits, half day closing on Wednesdays and going on holiday with his parents to Torquay to see a shipwrecked oil tanker, Morris was frank about a period when “misogyny was rife” but men would want to marry one of the ‘Top Of The Pops’ dance troupe Pan’s People. Meanwhile joining a band was an escape because “you married young and that was it!”, adding that “you got a job, had a couple of kids and then died!”

Of his early live music experiences, Morris recalled how his father had agreed on a concert exchange in an effort to bond: “He took me to see Marlene Dietrich which was nice, and I returned the favour by taking him to see HAWKWIND! It’s a shame we didn’t get to the end of their set as he didn’t like the drugged out hippies there.”

Morris also told of how he had applied to be a ‘Record Mirror’ journalist but while he didn’t get the job, he was asked to freelance and report on live gigs. “I assumed I could pick the gigs” he said, but he was wrong and remembered how he was despatched to review Roy Chubby Brown’s mates SMOKIE to roars of laughter from the audience; “THAT’S NOT THE FUNNY BIT!” he retorted… having been charged 75p for the privilege, he told of how the concert was cancelled when ironically the fire curtain refused to go up!

The anecdotes of his first encounters with key figures in Morris’ life provided much amusement for everyone gathered in the Stoke Newington Town Hall. Rob Gretton had told him to “F**K OFF” when he told him he was a budding journalist at a gig at Rafters, where the future JOY DIVISION and NEW ORDER manager was the resident DJ who refused to play requests! And in another story regarding a merchandising opportunity to produce ‘Unknown Pleasures’ T-shirts, he remembered Gretton had kiboshed the idea by responding “T-SHIRTS? THEY’RE SH*T!”

While Morris’ memories of his first meeting with bandmates Bernard Sumner and Peter Hook featured no expletives, he admitted he got confused when following his recruitment by Ian Curtis via a small ad in the Manchester fanzine ‘Shy Talk’, the vocalist suggested they meet the pair at the local prison! “Strangeways?” Morris remembered, “What were they in for?”. And when a villainous looking Jaguar pulled up as they waited, Curtis started talking about someone called Hooky; “I assumed Hooky was Bernard and Peter’s father”, not realising Peter and Hooky were the same person! “There’s a lot of misunderstanding in my life” he admitted.

Answering an audience question about meeting Factory Records impresario Tony Wilson for the first time, Morris told the audience “It’s weird because you knew Tony from the telly and your impression of him was not exactly favourable; you thought he was a bit of a show-off, a clever b*stard who had to impress on everyone that he knew Trotsky did this and that… but once you got to know got to know him, you found out that your first impressions were correct!”

As the audience recovered from Morris’ amusing account, he added “I think he liked to wind people up, but he was very clever in that he would put people together, like getting us Peter Saville. Tony was a good catalyst, I always thought Tony would have got into politics eventually”. Meanwhile, he remembered how Gillian Gilbert’s mum had said to Wilson: “You know Tony, a lot of people don’t like you, and now that I’ve met you, I can see why!”

With an eye on the future, Morris’ electronic percussion journey was initially inspired by the cover of the UK edition of CAN’s ‘Tago Mago’ and a misunderstanding about a device attached to one of Jaki Liebezeit’s drums. Eventually he acquired a Synare 3, Simmons SDS4 and Roland CR78 while Sumner built a Powertran Transcendent 2000 before upgrading to an ARP Omni MkII.

In the book, Morris tells of his KRAFTWERK-influenced rhythmic experiment triggering his Simmons SDS4 off producer Martin Hannett’s ARP sequencer to produce ‘As You Said’, said by many to be “the worst JOY DIVISION song ever” although ELECTRICITYCLUB.CO.UK rather likes it. Morris noted that the eccentric genius of Hannett added a depth that set ‘Unknown Pleasures’ apart and this pushing of sonic boundaries continued throughout JOY DIVISION’s short existence.

One instance was the aerosol used on the 12 inch disco re-recording of ‘She’s Lost Control’ inspired by BLONDIE’s ‘Heart Of Glass’. The idea had been to make the drums sound as powerful as possible, but Hannett suggested using an aerosol spray sound to give the rhythmic elements some fizzy top end.

Trapped in the vocal booth, Morris recalled noticing the can had a burning flame symbol and warnings of “danger” as the fumes started suffocating him… when the recording was completed, he reached for his pack of Player’s No6 King Size and was about to have a smoke but ”luckily I’d lent Rob Gretton my cigarette lighter”. As Morris put it, “it could have been a ‘Spinal Tap’ moment”, referencing the film’s recurring joke of spontaneously combusting drummers!

Despite Morris highlighting in the book about his lack of sartorial elegance and geography teacher look in the iconic JOY DIVISION photos taken by Kevin Cummins on Hulme Bridge, ELECTRICITYCLUB.CO.UK asked about his 2011 ‘Arena Homme+’ fashion shoot; “It was the most embarrassing thing I’ve ever done in my life, never again” he snorted, recalling his parents were saying “What are you doing, standing in a tank with a suit on? You don’t look well??!”

But of that iconic Hulme photo and its mystique, Morris said “people look at those pictures and see different things which is great, but all I can remember is the reality which is I was excruciatingly cold because Hooky had forgotten to bring his coat and I offered him mine!”.

Compared with bands of the time, JOY DIVISION’s monochromatic austere stood out as Morris confirmed: “We looked strange, we looked like we didn’t belong”.

In memory of Ian Curtis’ sad passing, Morris said “It was such a shock, one of Ian’s failings was he’d try to be everything to everyone, he’d never want to let anyone down… if he’d have turned round and said ‘I don’t want to do this’, I’d like to think we would have gone along with it, but he wasn’t like that. He’d say he was fine when he clearly wasn’t fine. We were all excited about going to America and suddenly BANG! I couldn’t make sense of it”.

But concluding on a lighter note, when asked what NEW ORDER song Ian Curtis would have loved, Morris sheepishly replied “Ooooh! ‘World In Motion’” to roars of laughter, adding “I could imagine him doing that!”. However, Morris conceded that it was likely that material from ‘Power, Corruption & Lies’ would have appealed to the late JOY DIVISION frontman while also surmising that if Curtis had lived, JOY DIVISION might have mutated into something like RADIOHEAD.

From tom riffs and gothic disco to club friendly four-to-the-floor beats, ‘Record Play Pause: Confessions of a Post-Punk Percussionist Volume 1’ covers up to the end of JOY DIVISION and the start of NEW ORDER. With moments that make you laugh out loud as well as making you cry with an emotional account of a very personal tragedy, this book is a must read, capturing the background behind the post-punk generation’s dysfunctional creativity that manifested itself under the spectre of The Cold War and appropriately unleashed itself during Britain’s winter of discontent.

A second volume covering NEW ORDER up to the present day will be published in 2020.

‘Record Play Pause: Confessions of a Post-Punk Percussionist Volume 1’ is published by Constable

NEW ORDER + LIAM GILLICK ‘∑(No,12k,Lg,17Mif) So it goes..’ is released as a limited edition triple coloured vinyl LP and double CD by Mute Artists on 12th July 2019

http://www.neworder.com/

https://www.facebook.com/NewOrderOfficial

https://twitter.com/neworder

https://twitter.com/stephenpdmorris

https://www.instagram.com/neworderofficial/

Text and Photos by Chi Ming Lai
15th June 2019

HOWARD JONES + CHINA CRISIS Live at The London Palladium

27 May 2019 /

The Grade II listed London Palladium saw the double-bill of Howard Jones and CHINA CRISIS reunited after the two acts shared the same bill over twenty five years ago, albeit reversed.

CHINA CRISIS were one of the bands, along with OMD, that helped give Jones exposure when the artist was first starting out, so it was fitting that the two acts should again share the same stage.

Because of the requirements of the headline stage set, CHINA CRISIS performed in front of the Palladium’s curtains with a streamlined set-up, their normal seven piece line-up condensed down to four with Gary Daly and Eddie Lundon flanked on either side by synth player Jack Hymers and saxophonist Eric Animan.

The band opened with ‘Black Man Ray’ from 1985’s Walter Becker produced ‘Flaunt The Imperfection’ and the eight song performance featured early singles ‘Christian’ and ‘African & White’. Alongside them were ‘Fool’ from the Pledge Music funded ‘Autumn In The Neighbourhood’ and the superb ‘Arizona Sky’ from ‘What Price Paradise’, a single that deserved to be a bigger hit than its No48 UK chart position suggested.

‘King In A Catholic Style’ added some audience participation and with the exception of the Kenny G-style sax which nearly threatened to spoil ‘Wishful Thinking’, it was an engaging set with Daly’s amusing between song banter keeping the audience entertained throughout. It was a pity that the band were only allocated 30 minutes; another 10 would have surely allowed tracks such as ‘Tragedy & Mystery’ and ‘Hanna Hanna’ to get an airing.

Howard Jones took to the stage solo, sat at the grand piano and kicked off his set with the song that he played at Live Aid, ‘Hide & Seek’; although renowned for his usage of electronics, it is easy to forget what a gifted pianist he is too and the inclusion of this ‘Human’s Lib’ track prompted an early sing-a-along in the Palladium crowd.

Backed by the ever faithful Robbie Bronnimann on synths and Robin Boult on guitar, there was new band addition in youngster Dan Burton on synths and electronic percussion who looked like he probably might have still been a baby even when the ‘Revolution Of The Heart’ album came out in 2005!

For those in the audience expecting a perfunctory run through of his greatest hits, tonight would have provided a bit of surprise with the majority of Jones’ new album ‘Transform’ being given the lion’s share of his set with 8 tracks in total. This included the recent single ‘Hero in Your Eyes’ with a back projection of Jones’ beloved Roland Jupiter 8 and Moog Prodigy from the track’s promo video.

Unsurprisingly the three BT collaborations were also played with Jones strapping on his keytar and coming to the front of stage for some of the material. Worthy of a big mention was the staging and lighting throughout; where many electronic acts skimp on budget and imagination when it comes to their backdrops, Jones’ staging was absolutely superb throughout.

There were recognisable nods to NINE INCH NAILS with some of the lighting design, but it was refreshing to see an artist treat the presentation of their material as a spectacle and not just trot out generic back projections with little or no thought and imagination. There are many acts from Jones’ era that should take note!

At one point, Jones’ iconic dancer Jed Hoile appeared on the back projections during a powerful rendition of ‘Equality’. Eventually a patient Palladium audience got the hits that they wanted in the form of ‘What is Love?’, ‘New Song’, ‘Like To Get to Know You Well’ and ‘Life in One Day’. A short encore break saw Jones and his band come back on for the anthemic ‘Things Can Only Get Better’ and funky ‘Transform’ track ‘Stay With Me’.

Tonight’s show was superb entertainment throughout, The Palladium providing a fitting backdrop for both acts. It was a timely reminder also that HOWARD JONES remains on top of his game with his new material.

Where some bands from this era are happy to wheel out the same sets year after year, it is refreshing to witness an artist who is not afraid to take risks with both their song selection and visuals.

The ‘Transform’ tour is an extensive one and will take in US dates later on in the year and also feature a visit to Japan; so if you are able, do try and catch one of the UK’s finest synth performers, you won’t be disappointed.

With thanks to Asher Alexander at Republic Media

‘Transform’ is released by Dtox Records as a deluxe 2CD with book, standard CD, vinyl LP and download

Howard Jones 2019 35th Anniversary ‘Transform’ tour with special guests CHINA CRISIS continues:

Leicester De Montfort Hall (29th May), Manchester Bridgewater Hall (30th May), Edinburgh Queens Hall (31st May), Gateshead Sage (1st June)

Please visit http://www.howardjones.com/ for details on US and Japanese live dates

https://www.facebook.com/howardjones

https://twitter.com/howardjones

https://www.instagram.com/thehoward_jones/

https://www.facebook.com/chinacrisisofficial/

https://twitter.com/ChinaCrisisUK

Text by Paul Boddy
Photos by Chi Ming Lai
27th May 2019

BLANCMANGE + FINLAY SHAKESPEARE Live at Under The Bridge

30 April 2019 /

Neil Arthur has become possibly the most prolific man in electronic music with eight albums of original material released since 2011…

Adopting a more layered sound than on more recent long players, ‘Wanderlust’ co-produced and mixed with Benge is possibly his best body of work as BLANCMANGE in its 21st Century incarnation, themed around “the pretence of a normal world being erased.”

For the 2019 leg of the ‘Wanderlust’ tour, he went Under The Bridge, a lavish venue with great sound and long LED screen with a fully equipped media infrastructure literally underneath Chelsea FC to ensure all present could enjoy the BLANCMANGE experience either standing or seated, in front of the stage or via large TV screens.

But opening was FINLAY SHAKESPEARE with a crystal clear modular synth sound coupled to claustrophobic vocals like they were buried in a box. Offering actual songs amongst his electronic experimentation, the material on his debut album ‘Domestic Economy’ was originally initiated by improvisation whilst being recorded live.

With the persona of a restless IT technician and musically coming over like a hybrid of THE FAINT, THE KILLERS and THE BRAVERY dreaming of wires rather than guitars, the frantic energy of ‘Luleå’ and ‘Benedict Canyon’ certainly roused.

As the hypnotic tension of closing number ‘Amsterdam’ offered some modern Motorik, discretely watching on the sidelines was Neil Arthur, sitting impressed.

The trance-laden ‘Distant Storm’ began BLANCMANGE’s proceedings with Arthur using his more natural vocal presence compared with the synthetic larynx on the ‘Wanderlust’ album version.

The brilliant vocoder assisted synthpop of ‘In Your Room’ outlined everything that is still great about BLANCMANGE; melodic, intense and danceable, it slotted quite nicely next to ‘Game Above My Head’, highlighting the two numbers were not from entirely different places despite being 36 years apart in genesis.

Meanwhile the metronomic ‘Not A Priority’ added some string machine chill via Jean-Michel Jarre as Arthur affirmed it was best to “be yourself, you can’t be anybody else”.

It was testament to the enduring appeal of BLANCMANGE that the maturer demographic in the audience could be observed mouthing along to these newer songs from ‘Wanderlust’ and its predecessor ‘Unfurnished Rooms’.

‘I Can’t Explain’ and ‘I Smashed Your Phone’ gave Arthur his opportunity for catharsis, “better out than in” as he remarked while his attack on the smarmy Victorian-minded politician Jacob Rees-Moog was loud and clear on ‘TV Debate’ as he satirised the “Mummy’s boy” who is definitely NOT the “People’s friend”.

Accompanied by regular accomplice Ogoo Maia on Jupiter 80 and vocoder, a new twist in the BLANCMANGE concert presentation was added courtesy of standing electronic drummer Liam Hutton, who provided the variance which in the past has included family members guitarist David Rhodes and percussionist Pandit Dinesh.

A surprise but welcome inclusion came with 1985’s ‘What’s Your Problem?’, a single from the ‘Believe You Me’ album which scraped into the Top40 while the starkly rhythmic ‘I Prefer Solitude’ from Arthur’s FADER side-project with Benge was another pleasant addition.

From the appropriately titled ‘Anna Dine’ to the fierce ‘Last Night (I Dreamt I Had a Job)’, Arthur still had it in spades as he charmingly presented his not-so-merry lyrical witticism with the odd stare but always a knowing grin.

Finishing the evening with a quartet of hits in ‘Living On The Ceiling’, ‘Feel Me’, ‘Blind Vision’ and ‘Waves’, this was a superb evening capturing the past and present of BLANCMANGE.

With how the Under The Bridge lighting played out, it looked at times like Superb Saturday Service at The Church of BLANCMANGE with a musical sermon by the Reverend Neil Arthur… indeed, the congregation left fulfilled and blessed.

With thanks to Steve Malins at Random Management

‘Wanderlust’ is released by Blanc Check in CD, vinyl LP and digital formats, available from http://blancmange.tmstor.es/

BLANCMANGE 2019 live dates include:

Sheffield Leadmill (3rd May) Liverpool Arts Club (4th May), Manchester Gorilla (10th May), Birmingham Hare And Hounds (11th May)

http://www.blancmange.co.uk/

https://www.facebook.com/BlancmangeMusic

https://twitter.com/_blancmange_

https://www.instagram.com/neilarthur/

http://finlayshakespeare.com/

https://www.facebook.com/FinlayShakespeareUK/

https://twitter.com/FinShakespeare

https://www.instagram.com/finlayshakespeare/

Text and Photos by Chi Ming Lai
30th April 2019

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