Category: Live Reports (Page 2 of 38)

SPARKS Live In London

20 June 2025 /

SPARKS know how to put on a good show but most importantly know their audience and how to challenge them, to their delight.

While OMD’s live set becomes increasingly cabaret with the tediously insipid ‘So In Love’, ‘Dreaming’ and ‘Locomotion’ now the mainstays leading up to the set climax, SPARKS are happy to revisit their past but not in obvious ways.

Continuing to ‘Do Things My Own Way’ at London’s Hammersmith Apollo, Russell and Ron Mael unleash surprises early on with the return of ‘Reinforcements’ from ‘Propaganda’ and the totally unexpected inclusion of ‘Academy Award Performance’ off the seminal ‘No1 In Heaven’ album. This section gets capped off with the glorious Cossack rock out of ‘Goofing Off’ from 1977’s often forgotten ‘Introducing’ album.

But proceedings fittingly open with ‘So May We Start’ from the musical ‘Annette’ and the SPARKS backing band comprising of new drummer Darren Weiss, his brother Evan on guitar, Eli Pearl (guitar) and Max Whipple (bass) are totally unfazed by the range that is expected of them, playing to sequencers, adapting to changes of tempo and memorising oddball arrangements.

Meanwhile that trio of fan surprises is followed by another Moroder-era stomper from heaven in ‘Beat The Clock’ before the profound plea of ‘Please Don’t F*ck Up My World’ from 2020’s ‘A Steady Drip, Drip, Drip’ reflected the current head scratching state of the world. Ron got his turn centre stage for the first time in the evening with his dry spoken rendition of ‘Suburban Homeboy’ before Russell joined him for the closing theatrical refrains.

‘All You Ever Think About Is Sex’ provided another fan favourite surprise but getting back up-to-date with the new ‘MAD!’ album, that a break-up song like ‘JanSport Backpack’ can be inspired by a bag popular with Japanese girls is idiosyncratic genius to prove that SPARKS have not let up in their eccentric artistic willing.

The HI-NRG romp of ‘Music That You Can Dance To’ prepared everyone for three with a bullet with the first chorus singalong of the evening for ‘When Do I Get to Sing My Way?’, a thrilling ‘The Number One Song in Heaven’ where the 79 years young Ron did his customary tap dance in the instrumental drum fuelled middle eight and ‘This Town Ain’t Big Enough for Both of Us’ had Russell punching the air with the vigour like he did on that iconic ‘Top Of The Pops’ performance back in 1974 when he was 25 and hitting them high notes too!

Going right back to 1972 and the second SPARKS album ‘A Woofer in Tweeter’s Clothing’, ‘Whippings and Apologies’ pointed to the almost-metallic climes of when SPARKS first came into being while with the air of a 1975 lost Eurovision entry, ‘Lord Have Mercy’ from ‘MAD!’ provided a wonderfully anthemic end to the main set. The encore included ‘The Girl Is Crying in Her Latte’ but was ‘All That’ from ‘A Steady Drip, Drip, Drip’ that concluded a glorious evening.

Taking the rapturous applause from a very appreciative audience 54 years after they debuted as recording artists, SPARKS still manage to surprise and satisfy. With a career that long, something was bound to be left out and while songs like ‘Amateur Hour’ and ‘When I’m With You’ were notably absent, they were almost not missed in the obvious enjoyment of all present. It was indeed an ‘Academy Award Performance’ and you really don’t want miss to it…

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Holly Turton at Republic Media

‘MAD!’ is released by Transgressive Records as a CD, cassette, black vinyl LP and lenticular gatefold sleeve with blue vinyl LP

SPARKS 2025 live dates include: Manchester O2 Apollo (21st + 22nd June), Glasgow Royal Concert Hall (24th June), Haarlem PHIL (26th June), Brussels Cirque Royal (28th June), Paris La Salle Pleyel (30th June), Cologne Gloria-Theater (1st July), Copenhagen Koncerthuset (3rd July), Stockholm Grona Lund Tivoli (4th July), Berlin Uber Eats (6th July), Milan Teatro Degli Arcimboldi (8th July), Bilbao BBK Live (12th July), Dublin National Stadium (15th + 16th July), Edinburgh Playhouse Theatre (18th July), Wolverhampton Halls (19th July)

http://allsparks.com/

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Text and Photos by Chi Ming Lai
19th June 2025

CHINA CRISIS 40 Years of Imperfection Live in London

4 May 2025 /

Released in April 1985, ‘Flaunt The Imperfection’ was CHINA CRISIS’ most successful album, spawning two UK Top20 singles in ‘Black Man Ray’ as well as being certified Gold.

The duo of Gary Daly and Eddie Lundon had already achieved chart success with their melodic synth-flavoured singles ‘Christian’ and ‘Wishful ‘Thinking’ while their respective parent albums ‘Difficult Shapes & Passive Rhythms – Some People Think It’s Fun To Entertain’ and ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ were also well received. But ‘Flaunt The Imperfection’ was a different musical beast compared to its predecessors. Produced by Walter Becker of STEELY DAN, the influence of his band was more than obvious with a more live soulful feel making its presence felt.

It would be fair to say that if ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ was their English album, then ‘Flaunt The Imperfection’ is their American one. With the prominent use of noted session players such as PINK FLOYD live guitarist Tim Renwick and keyboardist Nick Magnus who played with former GENESIS guitarist Steve Hackett, it broadened CHINA CRISIS’ musicality while retaining their all-important melodic sensibilities.

Something of a shaky live act in their earlier days, the original ‘Flaunt The Imperfection’ tour saw CHINA CRISIS improving on stage with Gazza Johnson (bass), the late Kevin Wilkinson (drums) and Brian McNeil (keyboards) successfully translating the Trans-Atlantic FM friendly vibe of the album to the concert environment. This ultimately was the birth of the entertainers that CHINA CRISIS have morphed into today and 2025 sees 40 years of Imperfection being celebrated.

The location for the London leg is Cadogan Hall, a former church at the heart of Sloane Square in Chelsea and luckily bar prices were not unreasonable inside while nearby establishments were charging £27.50 for two drinks and two packets of crisps!! Eschewing the traditional support act, as an expanded 7 piece including regular sidemen Jack Hymers on keys and Eric Animan on sax plus ‘What Price Paradise’ era guitarist Stuart Nisbet, CHINA CRISIS’ opening set comprised the first side of ‘Flaunt The Imperfection’ in order. From the opening bars of ‘The Highest High’ joyously celebrating their hometown of Kirkby, this was an evening of fun and entertainment.

Anyone who has ever been to see CHINA CRISIS in recent years knows that the comical banter between songs is as much part of the show as the songs themselves. Daly was as ever the witty raconteur, explaining that ‘Strength Of Character’ was a rare reggae excursion for the band as the form was extremely difficult for Caucasians from Merseyside to pull off authentically! Meanwhile with a projection of Walter Becker and George Michael on screen, Lundon remembered that on ‘You Did Cut Me’, the sax was played by Steve Gregory who had also performed the same task on ‘Careless Whisper’.

It was unusual to hear ‘Black Man Ray’ so early in the show before the interlude but Daly took the opportunity to plug merch. But as well as this, there were more pressing midlife concerns discussed such as the benefits of trousers with elasticated waists, the onset of baldness and comparing meds while under the care of consultants!

Opening the second section of the show with the second side, ‘Gift Of Freedom’, ‘King In A Catholic Style’ and ‘Bigger The Punch I’m Feeling’ all displayed that rhythmic bounce which characterised ‘Flaunt The Imperfection’, while there was a rare outing for ‘The World Spins, I’m Part of It’ which Daly jokingly remarked was far too wordy in an affectionate dig at Lundon who had written the majority of the lyrics.

After the ‘Flaunt’ showcase ended with the moody ‘Blue Sea’, there was an extended encore of other hits and tales. After renditions of ‘African & White’, the fabulous ‘Arizona Sky’ and the CHIC influenced ‘Tragedy & Mystery’, there was a story about how Alice Cooper played ‘Flaunt The Imperfection’ on his tour bus! Of course, there was ‘Wishful Thinking’ and ‘Christian’ plus more anecdotes from Daly, the most amusing of which was him still being irked by CHINA CRISIS always being billed below GO WEST at retro festivals!

Closing with ‘Sweet Delight’ from the most recent CHINA CRISIS album ‘Autumn In The Neighourhood’ which will be reissued later in the year, Daly dedicated the song written about his wife Jean to one of his daughters who was due to give birth to what would be his fifth grandchild 😊

Fellow Liverpudlian Ken Dodd once sang about ‘Happiness’ and that is what CHINA CRISIS provided tonight. In what Daly has said will be their busiest year for live work since their ‘Flaunt The Imperfection’ heyday, if you’ve never seen them live before, now might be a good time to try and buy to get ‘The Highest High’ and “join in the fun”.

‘Flaunt The Imperfection’ is still available as a 2CD set via Caroline from selected retailers.

The 40 Years of Imperfection tour continues: Edinburgh Queen’s Hall (8th May), Gateshead Sage (9th May), Leeds City Varieties Music Hall (10th May), Manchester Salford Quays Theatre (16th May), Airdrie Town Hall (17th May), Liverpool Philharmonic (24th May), Carlisle Old Fire Station (14th June), Holmfirth Picturedome (4th October), Galashiels MacArts (31st October)

For information on other CHINA CRISIS live dates in the UK and internationally throughout 2025, please go to https://linktr.ee/chinacrisismusic

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Text and Photos by Chi Ming Lai
5th May 2025

KIM WILDE Live at Cambridge Corn Exchange

23 March 2025 /

To be still releasing great pop records 44 years after your debut is a fine achievement and that is exactly what Kim Wilde has done with her new album ‘Closer’.

Interestingly, the songstress herself has stated that ‘Closer’ is a companion record to her 1988 long player ‘Close’ which saw a revival in fortunes thanks to the hits ‘You Came’ and ‘Four Letter Word’. Coupled with a high profile tour opening for Michael Jackson, that occasion followed a few comparatively leaner years after the huge success of her self-titled debut and the sophomore offering ‘Select’.

Although Kim Wilde has never gone away, apart from a hiatus into horticulture which led to an award for best courtyard garden at the Chelsea Flower Show in 2005, while she has always maintained a loyal fanbase and continues to perform shows across the world, there is something in the air surrounding her latest work. Produced and co-written as usual by her brother Ricky Wilde with additional songwriting contributions from his daughter and her niece Scarlett, they stood stage right as part of a tight septet. Alongside was Steve Power with a Korg Kronos and Roland keytar while to the left were other long-standing Wilde-men Paul Cooper (bass), Neil Jones (guitar) and Jonathan Atkinson (drums).

With a funky opener in ‘Hey Mister Heartache’, the initially tentative audience were all on their feet for ‘You Came’, a classic pop tune in anyone’s book. The introductory showcase of the ‘Close’ album also featured ‘Never Trust a Stranger’ but slotting in perfectly were songs from ‘Closer’. The powerful ‘Trail of Destruction’ highlighted environmental and existential concerns while providing reinforcements was the synth rock statement of ‘Midnight Train’. What was particularly impressive was how Kim Wilde’s backing band left no rest for the wicked, energetically seguing straight into the next track without batting an eyelid.

Taking a breather, the audience sat back down for the soulful ballads section that included ‘Love’s a No’ and ‘Four Letter Word’. While the feisty Kim and Scarlett duet ‘Hourglass Human’ didn’t get the crowded immediately back on their feet, the evergreen ‘Cambodia’ did! This was followed a barrage of the early hits ‘Water on Glass’, ‘View From A Bridge’ and ‘Chequered Love’ which gave plenty of opportunities for singalongs and “Molly Ringwald in ‘The Breakfast Club’ style dancing”. Again, the band co-ordination in the segues made sure there was no sleep ‘til Indigo2!

A rocked-up ‘Love Is Love’ added some 21st Century momentum to proceedings and if there’s a song that could win Eurovision again for the UK, it is this one. Meanwhile, ‘You Keep Me Hangin’ On’ brought Motown and plenty of “woah-oh-oh-oh-oahs ” into the room.

For the encore, it was time to party again like it was 1981 and while the new wave power pop of ‘Scorpio’ is from the new album, it could have easily been mistaken to be a lost song from ‘Kim Wilde’. And as the band gathered in front the drum riser preparing to do battle for the final time of the evening and sharing a similar electronic pulse, there was only her fabulous signature tune ‘Kids in America’ left to do!

In fine voice and exuding her charming down-to-earth presence, joyous is the only word that could be used to describe the warm family atmosphere resonant throughout this enjoyable evening. If you’ve never been to Kim Wilde show before, now might be a good time to change that 😉

With thanks to Sacha Taylor-Cox at Hush PR

‘Closer’ is released by Cherry Red Records as a CD, black vinyl LP, limited edition white vinyl LP and download

‘Love Blonde: The Rak Years 1981-1983’ is also available on Cherry Red Records as a 4CD boxed set

Kim Wilde plays Lets Rock Exeter 2025 on Saturday 28th June and Tring Chilfest 2025 on Saturday 5th July

For more information on European tour dates and how to purchase tickets, visit https://www.kimwilde.com/tour-dates

https://www.facebook.com/officialkimwilde

https://www.instagram.com/kimwildeofficial/

Text and Photos by Chi Ming Lai
23rd March 2025

GENEVA JACUZZI, RIKI + SPIKE Live in London

19 February 2025 /

The home of KITE, TR/ST, ADULT. and DRAB MAJESTY, US independent label Dais Records sent two of their acclaimed female synthpop acts Geneva Jacuzzi and Riki out on a UK and European tour.

Based in Los Angeles, Geneva Jacuzzi first brought her brand of avant-pop to the world with the bedroom recorded ‘Lamaze’ in 2010. Her second more polished long player ‘Technophelia’ followed in 2016 but while her third album ‘Triple Places’ didn’t appear until 2024, during the interregnum, she was working in performance art, live theatre, set design, costuming, makeup and set decoration.

Also from Los Angeles, Riki was the synth player of goth punk band CRIMSON SCARLET before taking the plunge to go solo in 2017 with the single ‘Hot City’ and releasing her self-titled debut in 2020. With a vibrant punchy style of synthpop incorporating Italo disco and new romantic influences, her most recent album ‘Gold’ came out in 2021.

But opening the evening as the local support was Spike, the synthcentric nom de théâtre of London-based singer-songwriter Hannah McLoughlin. With her macabre disco dealing with the undead and the inhuman, it was perhaps no big surprise that her set included a deadpan electronic cover of Warren Zevon’s ‘Werewolves Of London’. In an idiosyncratic live presentation including taped snippets of other’s songs inbetween her own, one of her tunes ‘Tiquetonne’ interpolated ‘Con Te Partiro’ aka ‘Time To Say Goodbye’ as made famous by Italian tenor Andrea Bocelli, and captured her enjoyable melancholic eccentricity.

Dressed mostly in black but contrasted with a white T-shirt and red gloves, Riki arrived on the stage like she had just been to a West Berlin night club circa 1984. Suitably Germanic songs such as ‘Strohmann’ and ‘Böse Lügen’ fitted in that image perfectly with big industrialised percussive sounds, while her most recent single ‘SAS (For Those Who Speak and Spake)’ exuded that Mittel Europa chic. The aural template of songs like ‘Lo’ and ‘Napoleon’ recalled American band BOOK OF LOVE who opened for DEPECHE MODE and were produced by Flood back in the day but to close, Riki went back to her punkier roots with a feisty energetic rendition of ‘Earth Song’.

Geneva Jacuzzi made a statement from the start that this was to be no mere gig as she appeared with a black and white cone over her face as part of a striking costume that also inventively featured flexible ducting hose for arms. Flanked by two male dancers in leotards vogueing and assisting when appropriate, it was like watching ‘The Masked Singer’ on hallucinogenics!

After venturing into audience and declaring ‘Art Is Dangerous’, the time came to “TAKE IT OFF! TAKE IT OFF!” but the show delightfully did not get any less weirder. Combining the mannerisms of Gina X, Lene Lovich and Jyl vocally and visually, this was an ironic celebration of the subversive potential and absurdity of all art.

As the DAF flavoured ‘Casket’ provided an appropriately horror film edge, the bouncy arty Italo of ‘Cannibal Babies’ saw Geneva Jacuzzi peak over a circular spiral screen but ‘Laps Of Luxury’ saw her make shadow movements behind it along as her dancers pulled shapes behind their own square and triangle variants.

During ‘One Colored Rooms’, she beckoned the crowd to create channel for her to parade with her dancers to the far end of the Moth Club while beach balls and balloons flew over people’s heads. If there were any health and safety concerns, no-one really cared as smiles and astonishment were on faces all around.

A song about being ghosted following a date, ‘Dry’ observed how the modern approach to love via technology can alter amount of value placed on proper human interactions. However, this brilliant actually tune provided an immediate connection to the audience with its memorable repeatable chorus.

‘Do I Sad?’ brought a YELLOW MAGIC ORCHESTRA sparkle despite its title while dangling her ducting hose arms to the oozy ballad ‘Yo-Yo Boy’ to finish, the quirky spectacle summed up Geneva Jacuzzi and her surreal brand of entertainment. With a brilliant presentation of theatrics and performance art, this was a joyous experience that also happened to include catchy hook-laden synthpop.

Witnessed by lively diverse audience of all ages, ethnicities and sexualities, it was a fabulous evening showcasing three talented artists who proved once again that in modern synthpop, the feminine touch really is best.

With thanks to Frankie Davison at Stereo Sanctity

‘Triple Fire’ by Geneva Jacuzzi is released by Dais Records, available from https://genevajacuzzi.bandcamp.com/music

https://www.genevajacuzzi.com/

https://www.facebook.com/genevajacuzziofficial/

https://www.instagram.com/genevaxjacuzzi/

Riki’s ‘Gold’ is released by Dais Records, available from https://riki.bandcamp.com/music

https://www.facebook.com/riki.la.band

https://www.instagram.com/riki.band/

The ‘S/T’ EP by Spike is released by God Nation on 25 February 2025, pre-order from https://gobnation.bandcamp.com/album/s-t-4

https://www.instagram.com/__s.p.i.k.e.__/

Text and Photos by Chi Ming Lai
19th February 2025

CAMOUFLAGE Live at Oberhausen Turbinenhalle

31 October 2024 /

After a postponement of a year, CAMOUFLAGE finally took their ‘Rewind To The Future & Goodbye’ tour on the German road.

This was a show to look back on four decades of CAMOUFLAGE – “Let’s remember 1983, the year we were founded” the band said on their socials, “KRAFTWERK, John Foxx, THE HUMAN LEAGUE, DEPECHE MODE and DAF! The electronic music of many new bands at the time electrified us and we thought: why not just try it ourselves? …”

Forming in 1983 as LICENSED TECHNOLOGY in Bietigheim-Bissingen, Marcus Meyn, Heiko Maile and Oli Kreyssig began creating tapes using a Moog Source, Korg MS20, Roland Juno 60, Roland JX3P, Roland TR808 and Simmons drums. The trio eventually settled on the name CAMOUFLAGE after the 1981 YELLOW MAGIC ORCHESTRA track from the album ‘BGM’.

Still learning their craft as songwriters, when their demo ‘Fade In Memory’ was aired on the local radio show ‘Sounds From The Synthesizer’ in 1986, interest came from Westside Music who saw potential in the trio in much the same way as Beggars Banquet did with Gary Numan; The independent label were able to broker a deal with the European multi-national Metronome, leading to the release of the mighty debut single ‘The Great Commandment’ which became a No14 hit in West Germany and later a Billboard dance club No1 in the US.

While the ‘Rewind To The Future & Goodbye’ title may have indicted a farewell tour, this was anything but for CAMOUFLAGE as this was a reference to the show opener, a brand new autobiographical new song which captured all their best elements. Performed by Meyn and Maile alone, this was their statement of intent to continue despite their self-confessed ups and downs.

Joined on stage by Jochen Schmalbach (drums + electronic percussion) and Volker Hinkel (guitars + keyboards), CAMOUFLAGE ventured back to their ‘Voices & Images’ era and that 1998 album’s wistful opening song ‘That Smiling Face’. But then came a surprise with a rendition of their breakthrough unreleased demo ‘Fade in Memory’; a joyous slice of synthpop in the vein of ‘Speak & Spell’, this was a welcome and fun inclusion to the set. In comparison, it’s hard to imagine today’s incarnation of DEPECHE MODE performing ‘Television Set’!

One person was missing was CAMOUFLAGE co-founder Oli Kreyssig who opted not to tour for personal reasons. However, he appeared on screen and on the backing track for his lead vocal on ‘You Turn’ which formed part of the ‘Sensor’ era of the show. Having left the band in 1989 after the ‘Methods Of Silence’ tour, this album saw Kreyssig’s return which has since included a further two long players in ‘Relocated’ and ‘Greyscale’. The reunion began with the comeback single ‘Thief’ in 1999 which introduced the suite, but it was the Gary Numan meets Depeche magnificence of ‘Me & You’ and the moody groove of ‘Perfect’ which stole this particular section of the show.

With Meyn enthusiastically waving his arms aloft and Maile studiously looking at his synths, the wonderful ‘Suspicious Love’ represented the “Think Electronic” album ‘Bodega Bohemia’ from 1993 while there was an airing for another new song ‘Everything’. The oompa energy of ‘We Are Lovers’ from ‘Relocated’ was rather appropriately segued into a faithful cover of ‘Blue Monday’ before venturing into the ‘Greyscale’ era with ‘I’ll Follow Behind’, ‘Leave Your Room Behind’ and the catchy ‘Shine’. But it was ‘The Great Commandment’ that the enthused audience were waiting for and today still stands up as perfection in its development of the ‘Some Great Reward’ industrial electronic pop sound that DEPECHE MODE all but abandoned by ‘Black Celebration’.

For the first encore, CAMOUFLAGE revisited their AREU AREU side project of 1992 with a fairly identikit version of THE CURE’s ‘Cold’ from ‘Pornography’. However, the morose gloom was immediately offset with the joyous peace anthem ‘Strangers’ Thoughts’ with all present joining the male voice choir refrain. Continuing the theme, the anti-war song ‘Neighbours’ completed the ‘Voices & Images’ era with thoughts to those affected by the world’s current conflicts.

The final encore saw a token visit into 1991’s Colin Thruston produced ‘Meanwhile’ album with one of its more electronic based songs ‘Handsome’; an experiment in a more band-orientated sound with guitars, drums, violin and sax, the record confused fans and ultimately saw CAMOUFLAGE “think electronic” again to settle into becoming the respected veterans they are now. That said, tonight Volker Hinkel made six string contributions where appropriate, adding texture to the darker tracks, while sticksman Jochen Schmalbach is a far better and more respectful drummer when augmenting sequenced songs than Christian Eigner will ever be for DEPECHE MODE.

This fine evening concluded with ‘Love Is A Shield’, another international hit which affirmed back in 1989 that CAMOUFLAGE were more than one hit wonders and had a chance at longevity. As it happened, there really were ups and downs after but here were Meyn and Maile at the front of the stage singing the final chorus with acoustic accompaniment from Hinkel together with the assembled Oberhausen crowd.

This was an assured performance and Marcus Meyn would later remark that this was the first show of the tour which was free of technical hitches. It saw the band much more relaxed than they had been in Hamburg the night before, with the singer’s vocals more confident. With eight albums to their name, the indicators were that while CAMOUFLAGE’s past was being celebrated, there is more to come.

CAMOUFLAGE will next be touring Eastern Europe and on 19 July 2025 play Cologne’s prestigious Amphi Festival. But until then, there will be a new fan curated compilation also called ‘Rewind To The Future & Goodbye’ containing 40 songs from 40 years of the band’s history. While 2014’s ‘The Singles’ containing liner notes by ELECTRICITYCLUB.CO.UK is a good bite size entry point into CAMOUFLAGE for the more cautious listener, those who wish to dive head first into a collection of glorious singles, album standouts and B-side experiments know what to ask for this Christmas 😉

‘Rewind To The Future & Goodbye’ is released on 13 December 2024 as a 3CD or 4LP set on by Universal Music, pre-order from https://camouflage.bravado.de/

CAMOUFLAGE 2024 – 2025 Eastern European live dates include:

Tallinn Alexela Kontserdimaja (22 November), Riga Palladium (23 November), Vilnius Compensa Concert Hall (24 November), Warsaw Palladium (26 March), Ostrava Barrák Music Club (28 March), Bratislava Rafinery Gallery (29 March), Prague Roxy (30 March)

http://www.camouflage-music.com/

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Text and Photos by Chi Ming Lai
31st October 2024

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